The New ARCH Vol3 No2 (2016) by S.ARCH

International Journal of Contemporary Architecture

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

ISSN 2198-7688

Vol. 3, No. 2 (2016) August 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 Source: Sou Fujimoto Architects / MAU / Photo: DAICI ANO

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

ISSN 2198-7688

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A WORD FROM THE EDITOR-IN-CHIEF What architecture could be? Is it an art or is it a process of designing or drawing or constructing or engineering or is it built environment and/or changing and creating new spaces or is it computer aided modelling of spaces around or ...? Actually, it may be all of these. However, the main point should be to serve humans to better feel and enjoy their own spaces and protecting corresponding surroundings to be healthy and always keeping in mind that we have responsibility today for the future of next generations of humans. In this sense, I am recommending you the interview in this issue with the well known Japanese architect Sou Fujimoto who was one of the keynote speakers on the third International S.ARCH-2016 conference and who is “always trying to feel what architecture should be like in the future”. Thus, when we talk about the sustainability, it should not be reflection of numerous rules and/or standards but rather the reflection of the relation between space and time. Founding Editor & Editor–In–Chief Architect Marina Stosic

Exactly in this course, the worldwide known architect and Professor Dietmar Eberle from Austria, who lectures at the ETH Zurich, stressed out in his impressive keynote lecture at the S.ARCH-2016 conference that we have to “think about architecture within time frames”. In his speech with a curious title “200–100–50–20–10” he explained that these numbers are lifetime phases of a building in five numbers representing functional years of urban structures / relation to the public (200), building structure (100), building envelope (50), the way how the building is used (20) and the building interior (10). An architect and the senior associate at ZAHA HADID Architects, Viviana Muscettola from UK, gave at the S.ARCH-2016 conference an emotive keynote speech about the recently departed world known architect Zaha Hadid and about the legacy left behind to the world of architecture. In this issue we also have eight interesting papers of authors from Turkey, India, Austria, Italy, Slovakia, worth to be read. Last but not least, the S.ARCH conference is moving next year to Hong Kong and I am kindly inviting you to join us. I am wishing you a nice summer!

___________________________________________________________________________________________________________ A Word from the Editor–in–Chief

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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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 – ZAHA HADID Architects, London, UNITED KINGDOM Arch. Jose Luis Vallejo – Ecosistema urbano, SPAIN Arch. Bostjan Vuga – Sadar+Vuga, SLOVENIA Arch. Associate 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. Dr. Haris Bradic – University of Sarajevo, BOSNIA AND HERZEGOVINA Arch. Nikola Novakovic – Enforma, MONTENEGRO Arch. Associate 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. Ass. Prof. Zsuzsanna Fulop – Faculty of Architecture, Budapest University of Technology & Economics, HUNGARY Arch. Associate Prof. PhD. Veronika Kotradyova – Faculty of Architecture, STU Bratislava, SLOVAKIA Arch. Dr. Paola Leardini – University of Auckland, NEW ZEALAND Eng. Associate Prof. Vincenzo Corrado – Politecnico di Torino, ITALY

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HONG KONG

NEXT S.ARCH 7-9 June 2017 http://de123rf.com; Copyright Leung Cho Pan

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

ISSN 2198-7688

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Feel What Architecture Should be! – Interview with Sou Fujimoto

Nevnihal Erdoğan, Senem Müştak, Seda Kaplan Social Values and Norms in Architecture of Turkish House

Tamalee Basu, Mainak Ghosh A Formulate Approach to Studying Visual Perception of Urban Landscape with a Cultural Context: A Case Study of Kumartuli, India

Martin Kaftan Exploration of Optimal Solutions in Architecture

Giuseppe Fallacara, Micaela Colella, Maurizio Barberio Architecture and Didactics: A New Cultural Centre for Matera, European Capital of Culture 2019

Nurdan Akiner, M. Ernur Akiner Impact of the Architecture and Environment Relation on Crime Rates: A Case Study from Turkey

Mária Budiaková Architectural Design of Schoolrooms while taking into Account the Requirements of Thermal Comfort

Milena Stavric, Albert Wiltsche, Elmar Hess Parametric Design and Fabrication Strategies by Practice

Gülhis Duygun, Senem Müştak Physical and Perceptual Boundaries over the Body in Interactive Surfaces

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About the Journal

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Instructions for Authors

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Authors‘ Papers

S.ARCH-2016: Highlights and Overview

The Journal

Editorial

CONTENT

S.ARCH-2017 International Conference with AWARDs

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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S.ARCH–2016 HIGHLIGHTS AND OVERVIEW THE 3RD INTERNATIONAL CONFERENCE WITH EXHIBITION

This year the RENECON International and Get It Published from Germany, together with local co-organising partner enforma from Montenegro, organized yet another successful conference. Third in a row S.ARCH conference took place this year in Budva, Montenegro and lasted 3 days, from 25th–27th May 2016, in the premises of the hotel Splendid Conference and Spa Resort. The conference, as the last two years welcomed participants from all around the world with keynote speakers from worldwide known studios such as ZAHA HADID Architects, Sou Fujimoto architects and baumschlager eberle. Yet again, the conference was a centre of knowledge and ideas exchange, which left all the participants with valuable information and ideas that can contribute to better future of architecture and development of the profession. When thinking about the future vision of a city, having in mind recent development, we are inclined to expect young professionals to address complex situations in architectural environments, ranging in scale from structures and buildings to urban contexts. However, these developments also raise the question of how to design this complexity while respecting the design process having in mind the environment, the climate, the future visions and technology. What is the role of complexity or simplicity as part of the design process? Does the use of complex design methods offer simplicity to the design process itself? Through the expansion of technology we can note that things and services should become more user friendly and more responsive, so that they become more nature aware, surrounding oriented. This year’s conference took all these question in matter, and gave several topics for the participants to address starting with: Future visions for the city, Conceptual and methodical concepts, Environmental perceptions, Interactive structures, Urban ecology and climate, Bioclimatic and cultural sensitivity, Materiality and investments and Constructions. This wide ___________________________________________________________________________________________________________ “The 3rd International Conference with Exhibition S.ARCH-2016 — Highlights and Overview”

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

ISSN 2198-7688

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range of interesting and challenging topics invited and attracted numerous participants who throughout the conference presentations showed their knowledge and amazing research results based on given topics, which concern us all today. One can say that in these three days all of us significantly expanded the knowledge, shared information with colleagues and gained more insight on all what is happening on the architectural scene of today. The 3rd S.ARCH conference hosted even more delegates than the previous one and had a rich program with keynote speeches, many interesting presentations and a very interesting discussion panel with prominent architects. An important addition to the conference were also contributed works and projects which were competing for S.ARCH AWARDs, where we had a pleasure to see and hear successful architects around the world talking about their design process and the ideas behind their chosen projects. It is interesting to point out that participants at the 3rd S.ARCH conference came from more than 33 different countries, and we listened to 3 keynote speakers, 52 different presentations with subjects mentioned before. The variety of the conference once more proved extremely positive and successful, and I would say that all of us were architecturally enriched. Only by learning from one another, and discussing problems in matter, we – architects will be able to design the future we seek.

NEXT ARCHITECTURE ― CONFERENCE DAY 1

The first day of the conference, delegates and speakers were welcomed by Marina Stosic, a German architect, the chairperson of the conference and the Editor-inChief of the International Journal of Contemporary Architecture “The New ARCH”. In her speech she welcomed all the participants and introduced them with the main themes of the conference, announcing

keynote speakers we all looked forward to. Following, Nikola Novakovic, the main architect and owner of studio enforma, gave a welcome note expressing the gratitude to be a part and contribute to such a conference also this year, while giving an intro to the architectural scene of the country. These two speeches opened the conference, which then continued by starting with the presentations from the architects and researchers around the world. In the first session we listened the presentations with the subject – State of Affair and Future isions, with the

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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speakers coming from various countries such as Czech Republic, Bosnia and Herzegovina, Kosovo, China and Montenegro. The speakers talked about different topics starting with “Flexible, interactive structures for future visions”, “Tradition in transition”, “The role of building community on application of timber” and “Winter Olympic art city”. The next session, which continued after the coffee break, had two speakers from Turkey, two of them from Bulgaria and one from Austria. This particular group focused on issues such as “Green revolution of Ataturk forest farm”, “The interrelationship between the elements of design and art”, “The revival of the green systems in Bulgarian cities”, “Urban farming and applicability in Turkey” and “Parametric design and fabrication strategies by practice”. In the afternoon, the conference continued with the short listed projects for the S.ARCH 2016 Conceptual Design AWARD. We had a chance to see many interesting projects which deal with public spaces and squares, office buildings and many others. The architects which presented their work came from different countries such as Turkey, Hungary, Spain, Serbia, Croatia, Austria and Montenegro. Later on we saw two of Short listed projects for the S.ARCH 2016 Project AWARD, which were incredibly inspiring since they dealt with difficult but interesting locations and situations which surrounded their design. One of them was Community Center of El Rodeo de Mora, by Fournier Rojas ARQuitectos coming from Costa Rica, which was the design of a public centre built with limited finances and in a very challenging climate. The second one was a Klan Kosova Television Station, from the studio ANARCH, from Kosovo which showed amazing work with limited budget and interesting ideas which were made reality. With these two projects the first day of the conference was finished, and all the participants, architects and delegates left eagerly waiting for the second day, while enjoying the amazing city in which the conference was hosted.

space phenomena”, “Optimization in architecture from design to production” and many other topics. After this interesting and inspiring session the conference continued with the second one for the day where we had speakers from Kosovo, Poland, Slovakia, Turkey and USA. In this session we listened many interesting presentations with the topics “Smart cities transformation in Turkey”, “New Dhaka project”, “Landscape architecture as a representative of environmental harmony” and others. Later on, continuing from the previous day of the conference we saw more of short listed projects for the S.ARCH 2016 Conceptual Design AWARD. Here we saw projects from studios Ingarden & Ewy Architects (Poland), ENOTA (Slovenia), Atelier Marko Brajovic (Brazil) and Schulz & Schulz Architects (Germany). Prominent architects from these countries presented their projects and the ideas behind them, showing the “secrets” of a successful architectural design. Coming to the afternoon session we finally got the chance to see, meet and listen the world famous architects, their own practices and what hides behind their success. First keynote speech was from the worldwide known architect and Professor Dietmar Eberle from Austria, who lectures at the ETH Zurich and has carried out more than 300 building projects in his studio (baumschlager eberle). Some of the most notable projects are Vienna International Airport Skylink, Austria, Moma Apartments, Beijing, China, ETH escience Lab, HIT Building, Zurich, Switzerland. His lecture with an interesting headline “200 100 50 20 10”, which he later explained thoroughly, was an amazing insight to his thought about architecture and what awaits us in the future. He addressed several topics and several projects they built giving the audience the explanation of their design and concept.

STAR ARCHITECTS COME TOGETHER ― CONFERENCE DAY 2

The second day of the conference begun with yet another interesting session where we listened architects and researchers from Poland, Hungary, Czech Republic, Austria and Italy. The speakers talked about “Improvisation in architectural design”, “Continuous

Dietmar Eberle

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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Sou Fujimoto

The next keynote speech was given by globally recognized architect Sou Fujimoto, from Sou Fujimoto Architects from Japan. Sou Fujimoto founded his Tokyobased practice in 2000. He has created several notable projects, such as the Final Wooden House, the N House, and Musashino Art University Museum & Library

(completed in 2010). In his lecture “Between Nature and Architecture” Sou Fujimoto discusses his philosophy of designing structures that are "in between" opposing concepts such as nature and architecture, and says the approach could work just as well on a skyscraper as a small private house. His work clearly shows that Fujimoto’s architecture revolves around the “spaces in between” and the blurred line of what is inside and outside. For him everything constitutes the raw material of design – not only the elements that we commonly consider artificial, but also the more natural ones: light, trees, even people's behaviours and habits. For instance the N House, designed in 2008, at first sight looks like a composition of boxes: perforated walls containing other perforated walls. But between one floor and the other there are small spaces that let you see fragments of the sky, glimpses of a tree's crown combining abstract signs with natural shapes. Fujimoto gave a really inspiring lecture and has shown to all delegates and participants an indeed different angle of how one can feel the nature through architecture. After the lecture of Sou Fujimoto there was a discussion panel in which Marina Stosic along with three keynote speakers Sou Fujimoto, Dietmar Emberle and Viviana Muscettola led a discussion about architecture practice, their opinions and engaged the public and the rest of the delegates, calling for questions and an open discussion panel.

Sou Fujimoto, Viviana Muscettola, Dietmar Eberle, Marina Stosic

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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IN HONOUR OF ZAHA HADID ― CONFERENCE DAY 3

With this discussion, day two of the conference was concluded and delegates had a conference pool party and cocktail dinner where they could exchange opinions and impressions of the conference. On the dinner there was also the awarding ceremony for the winning Projects and Conceptual Designs of the S.ARCH 2016 AWARDs, along with some honourable mentions.

Final and third day of the conference started with another keynote speech, given by Viviana Muscettola from ZAHA HADID Architects from UK. Given the recently departed world known architect Zaha Hadid, Viviana Muscettola spoke about the legacy which was left behind to the world of architecture, given Zaha’s influence and that of her work.Over the last two decades, the Zaha’s studio has been dealing with some of the most challenging buildings and concepts always attracting the eye of the public and professionals around the world. Muscettola addressed mostly the life of Zaha herself, and how she developed to be the star architect that she was. She showed several accomplishments of the studio in dealing with parametric design and complex building programs, and Zaha’s approach to them. An inspiring lecture was followed by another session, in which there was three presenters coming from Serbia, Romania and Switzerland. The topics addressed issues

S.ARCH 2016 Awarding Ceremony

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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Viviana Muscettola

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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concerning “Computational atmospherics as a design tool”, “Integrative design team a path for designing innovations” and “High-Rise building ‘Am Rietpark’ in Zurich”. Later on, in the final sessions we had a chance to listen presentations from Turkey, Albania, Montenegro, Italy and Greece. Many topics were covered amongst them “Urban pattern geometry and its potential energy efficiency”, “Physical and perceptual boundaries over the body in interactive structures” and many others.

EXHIBITION Along with the keynote speeches, presentations and panel discussion there was also an Exhibition / Poster Session of contributed works, the event that took place parallel to the conference but in a separate salon. There were exhibited works and posters, in the areas of case studies, reconstructions, particular programs/concepts of the buildings or new materials.

BOTTOM LINE The S.ARCH 2016 conference lasted 3 days, with the auditorium full of known architects and young professionals, being enriched by the words they heard and the knowledge that this conference provided them with. Having listened to all the presentations and lectures, one could have only been left with hope and optimism for the future of architecture, despite all the problems we face nowadays. I could not agree more that this conference, one more time proved to be “the supermarket of architecture”, as the architect Winy Maas (MVRDV) said in the previous year. We all came and took the knowledge and the information we needed, along with many beautiful memories and new colleagues we made in progress. For all these reasons we invite all of you to join us for the 4th International Conference S.ARCH–2017 to be held on 7-9 June 2017, in HONG KONG.

Author: MSc. Vasilia Abramovic ing.arch. (All images reprinted with permission from RENECON International)

International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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Feel What Architecture Should Be! Interview with

SOU FUJIMOTO Sou Fujimoto was born in Hokkaido in 1971. Graduated from the Department of Architecture, Faculty of Engineering at Tokyo University, he established Sou Fujimoto Architects in 2000. This year, he has won the 1st prize for “Pershing”, one of the sites in the French competition called 'Réinventer Paris', following the victories in the Invited International Competition for the New Learning Center at Paris-Saclay's Ecole Polytechnique and the International Competition for the Second Folly of Montpellier in 2014. In 2013 he became the youngest architect to design the Serpentine Gallery Pavilion in London.

Source: Sou Fujimoto Architects (Photo David Vintiner

His notable works include; “Serpentine Gallery Pavilion 2013” (2013), “House NA” (2011), “Musashino Art University Museum & Library” (2010), “Final Wooden House” (2008), “House N” (2008) and many more.

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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House N Source: Sou Fujimoto Architects (Photo Iwan Baan)

In your “N House” project we can see different dimensions of space, and the borders between inside and outside are almost wiped out. How important you see these “layers” of space, and in what way you believe they contribute to the design, but also to the usage of the space itself? Fujimoto: I have always had doubts about streets and houses being separated by a single wall, and wondered that a graduation of rich domain accompanied by various senses of distance between streets and houses might be a possibility, such as: a place inside the house that is fairly near the street; a place that is a bit far from the street, and a place far off the street, in secure privacy. When people get influenced by their living environment and then find new meanings in their ordinary living environment, I find such architecture that brings a loop of mutual interaction like that is wonderful. The clients of N House once told me that they had this feeling as if their life had become synchronized with the nature, and richer but simpler.

The spaces you create rather challenge the clients – the users, unlike just coddling them. What is your process of firstly thinking and then designing a certain project? Fujimoto: Sometimes I draw while seeking for new ideas alone, but it is also very important to have a discussion with my staff as well. New ideas, which surpass my own ones can be borne by interacting with other people. I am always looking out for new ideas but they don’t just come to my mind suddenly but they always come along and ahead of what we have been contemplating and accumulating.

What is the main goal you want to achieve with the outcome of your project – client satisfaction, your own or are you driven by an architectural concept and aesthetic? Fujimoto: I am always trying to feel what architecture should be like in the future. It is something very fundamental, creating a new space that supports the activities of humans. I am also interested in how surrounding environments melt into each other.

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

ISSN 2198-7688

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House N Source: Sou Fujimoto Architects (Photo Iwan Baan)

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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Speaking frankly, nature and man-made, interior and exterior, urban and architecture, landscape and furniture, amongst such relationships, I hope to discover a new architectural possibility. The transparency and brightness of your projects is rather fascinating, even refreshing one might say. Where do you find your inspiration? Fujimoto: I get inspirations from various things. But what I especially like is diverse kinds of architecture and cities around, and various amazing histories of architecture. My creative way to think about architecture is in a sense quite simple. We have, for example, the project, the site condition and climate conditions and the cultural conditions, and of course, the given programmes and the given schedule and the budget. We have everything on the table. At the very beginning we just have open discussions, where all the team members and I can bring the ideas,

sometimes small models, sometimes just the sketches and then we could open up the possibilities of the project, not just focusing on one direction from the beginning, but we like to see the several different possibilities from that project itself. And then gradually, through the discussions, we find out some new ideas or combine different ideas together. Finally, one project could have one conclusion, but through the process we could have many different concepts starting from the point of future thinking, so that is quite exciting process for me. It’s not just one straight way; we have many ideas through the whole process and inspiration can be found while going through these processes.

What would you suggest for young architects and researchers? Fujimoto: Let’s explore the future together!

Interview: MSc. Vasilia Abramovic ing.arch.

Mille Arbres Source: Sou Fujimoto Architects (Photo SFA+OXO+MORPH)

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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L'Arbre Blanc Source: Sou Fujimoto Architects (Photo SFA+NLA+OXO+RSI)

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Authors’ Papers

Nevnihal Erdoğan, Senem Müştak, Seda Kaplan

Social Values and Norms in Architecture of Turkish House 8

Tamalee Basu, Mainak Ghosh

A Formulate Approach to Studying Visual Perception of Urban Landscape with a Cultural Context: A Case Study of Kumartuli, India 20

Martin Kaftan

Exploration of Optimal Solutions in Architecture 28

Giuseppe Fallacara, Micaela Colella, Maurizio Barberio

Architecture and Didactics: A New Cultural Centre for Matera, European Capital of Culture 2019 37

Nurdan Akiner, M. Ernur Akiner

Impact of the Architecture and Environment Relation on Crime Rates: A Case Study from Turkey 45

Mária Budiaková

Architectural Design of Schoolrooms while taking into Account the Requirements of Thermal Comfort 53

Milena Stavric, Albert Wiltsche, Elmar Hess

Parametric Design and Fabrication Strategies by Practice 60

Gülhis Duygun, Senem Müştak

Physical and Perceptual Boundaries over the Body in Interactive Surfaces

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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DOI: 10.14621/tna.20160201

Social Values and Norms in Architecture of Turkish House Nevnihal Erdoğan*, Senem Müştak, Seda Kaplan Kocaeli University, Faculty of Architecture and Design, Department of Architecture Kocaeli, Turkey; nevtrakya@gmail.com, mustaksenem@hotmail.com, kplnseda@gmail.com

Abstract

1. Introduction

It is known that the formation of dwellings and architectural forms are affected by a wide spectrum of factors and the characteristics of dwellings are not only determined by physical influences and factors but also shaped by the results of all socio-cultural factors of the society. The design of the house is influenced by both cultural values and choices. Houses reflect rules, norms and social relationships. The same way, houses replete with symbolic meanings. This research focuses on traditional Turkish houses and examines the links between the social norms of domestic spaces of the traditional house design. With this approach, the relationship between cultural-social values, norms and architecture had been analysed through traditional Turkish house in which different ethnical and cultural groups live. The study based on master student’s research projects. Data of the norms for this paper came from naturalistic fieldwork around the Turkey. The research includes observation and interviews with members of the families as well as architectural analysis and photo documentation. The houses which are analysed, belongs to period before Turkish Republic. This paper is an examination of linkages between architectural artifacts selected or devised by social norms and social values such as extended family and the status of family within the community, relationships between men and women, neighbor relationships, the daily customs of the family, customs, beliefs and rituals within the life of the community, hospitality, religious beliefs and practices in Turkish Islamic tradition, relate to built form in Turkey. The aim of the paper is to explain architecture of Turkish house is an artifact of culture, which is a synthesis of whole Anatolia.

Every society is exposed to some changes which may affect its social structure. Factors like cultural interactions, industrial and technological developments, natural disasters or war are the main reasons which modifies the society and the architecture along with it. Architectural forms and housing characteristics are not just shaped by physical effects, they also shaped by socio-cultural effects. According to Rapoport [10, 11] to understand the constructed surroundings, the benefit of culture and the correct usage of it should be known, resolved and their relations between with each other should be understood by decomposing.

Keywords:

Turkish house; Social values and norms; Cultural codes, Vernacular architecture

Article history:

Received: 25 February 2016 Revised: 10 April 2016 Accepted: 04 May 2016

For housing is a cultural fact, it is affected by cultural values of the society to a large extent [11]. According to Mazumdar [7], houses represent the social relationships, norms and rules. In a similar manner, According to Lawrence [6], houses are the places which an individual expresses himself; houses contain a set of socio-cultural values. Housing forms and typologies express the changes and developments which society had in time and they embody the beliefs, social interactions and lives of the society. On this respect Cunningham [4] describes the house as a universe model which composed by sections, form, symbols and regulations that determinated by people. From this perspective, very few works have systematically identified and analysed the relationship between cultural values and architectural features of Turkish House. Despite this, Atik and Erdoğan [1]; Erdoğan and Atik [2] have analysed features of the traditional Turkish House in relation to the socio-cultural factors of the country. In this paper an abstract model of the relationship between cultural and social values and architecture is presented and case studies of the traditional houses from different regions of Turkey is provided to help exemplify and clarify the model. So with this approach, the relation between cultural and social values and architecture has been analysed through the traditional

___________________________________________________________________________________________________________ N. Erdoğan, S. Müştak, S. Kaplan: “Social Values and Norms in Architecture of Turkish House”, pp. 1–7

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Figure 1. Model of the relationship between social-architectural values and norms [7]

Figure 2. Socio-physical model for selected traditional Turkish houses

Turkish houses in which different ethnical and cultural groups. This relationship between house form and socio-cultural factors has been explained using a four-part model which shows the relationship between architecture and social factors by Mazumdar & Mazumdar [8] (Figure 1). This model can be used as a methodical tool for exploring and understanding the relationship of a particular culture with its architecture and also to learn about the value and meaning of specific architectural artefacts. Mazumdar & Mazumdar [7] developed a model which can provide an analysis of culture as a concept considering concrete and observable social expressions. In the work, four housing structures from the various regions of

Turkey which include the characteristics of “Turkish House” from the beginning of the 20th Century is examined as a part of post graduate research project based on this model and they extracted by results of the data from the field work. Survey method has been used; in addition to architectural analysis, observation and visual documentary, various interviews with family members have been used. In the working standards of this model; the social norms and the relations of values like; extended family pattern, the status of family in society, male-female relations, neighbourhood relations, the daily habits of the family, traditions, believes and their rituals among the society, their hospitality, the belief and practices in the Islamic tradition have been surveyed. Thus, the explanation of

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cultural background of the Turkish house which is a syntheses of Anatolian culture, is aimed.

2. Social values and norms in Turkish house House is appeared as a result which from one of the basic needs of mankind, the need for shelter while adopting a sedentary life. Throughout the history the houses varied because they have been built with the adaptation of local material, culture and life. In Anatolia, nearly every region which is called Turkish House has different typology because of the structural and cultural differences. Turkish house can be described as a housing type which shows form and plan resolution that is proper for the traditional Turkish family’s culture and traditions and answers the needs of Turkish people [5]. Traditional Turkish houses from Anatolia to the Balkans, have common characteristics even though they are built with different materials and styles. Traditional Turkish houses subsisted for years within the boundaries of Ottoman Empire. Reorganized its surroundings and life style; became an irreplaceable element of traditional housing configuration which prospers socially, culturally and economically. Turkish house is changed and developed over the years by feeding off from its surroundings and culture. In the inter section between culture and architecture, the effects of socio-cultural factors to the Turkish houses can be stated with Mazumdar & Mazumdar’s latest model. Model offers a 4 sectioned analysis method to understand culture-architecture relations. These four stages create an awareness in every stage with related questions. The elements which stated in the model provide a systematic research of the social and architectural values and norms. This model can be used as a methodologic tool to resolve the determined culture relations in addition to perceive the meaning and values of architectural factors better. Traditional Turkish houses which are chosen from various regions of Turkey are analyzed by the aforementioned method in terms of architecture and culture realtions with the field works method (Figure 2). Four physically and culturally different house structures: Affan Kalender House from Kocaeli, Yiğitler House from Sakaraya, Hayri Azman House from Zonguldak and Manzakoğlu House from Trabzon are analysed as a Turkish house examples.

2.1. Social values The social values which are inspected from the four chosen houses are determined as; male-female relations, family pattern, family privacy, neighbourhood relations, hospitality and Islamic traditions.

2.1.1. Male–female relations Women and men have different responsibilities in the traditional Turkish family structure. Men start the family and they are responsible for providing financial compatibility and protect the family in an authoritative position. Women keep the family together and responsible to take care of children and house. While men make more contact with the external environment during the day, women have a more private position which is to make contact within home or a close environment. Traditions show that men and women should be respected. The value of woman in the family clearly shows the status of the family. 2.1.2. Family structure In the traditional Turkish family structure, usually the extended family profile is seen. Grandparents, their children and grandchildren prefer to live under the same roof. Generally, this situation occurs with the family of the man. Among the main reasons of this situation economical inadequacy can be counted right along with the strong family bonds. Parents are responsible for the children’s education, life and security. Likewise, the children are responsible to take care of their parents when they got old and sick. Social relations within the family is strong. The status of the family in Turkish society varies depending on the socio-economic condition and lineage. Especially in the rural areas, the occupation and financial income of the man shows status. 2.1.3. Privacy of the family The privacy in Turkish house is originated from Islamic tradition. The protection of the woman from the strangers are important. Women pay attention to their clothing outside of the house, they prefer to wear headscarfs and there is no discrimination of women in the family. This situation necessitates the creation of privacy for the houses, thus native architecture developed various designs. 2.1.4. Neighbourhood relations The neighbourhood relations are too important in the Turkish traditions. The people who live in the same dwelling unit develop close social bonds and try to support each other in every condition. The neighbourhood relations which is also important for the Islamic traditions can be counted as one of the main characteristics of Turkish family structure.

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2.1.5. Hospitality Hospitality is also very important for the Turkish society. Turkish people want that every guest who visit them feel like they are home and they threat them as good as possible. That’s why the drawing rooms are made privately and have an important place in the local architecture. 2.1.6. Turkish–Islamic traditions Islamic traditions have an important place in the social life and human relations because most of the population are Muslims. In the Turkish-Islamic traditions; religious holidays, weddings, giving birth, funerals and many other ceremonies happen in this social conjuncture. There some rules which society decides about these special days. Throughout the years this situation survived until today. These special day ceremonies happen inside the house, this causes the house have design values which is adaptive to this situation.

2.2. Social norms The social values in a society turn into social norms in time. The privacy of woman and family can be shown as the main norm of the traditional Turkish society. While men have a more active role in society, women have to protect themselves outside of the house and they are expected to not make a contact with strange men. Thus, while men are responsible with the social activities and financial gain, women are responsible for the family needs inside the house. Also, treating the guests with respect and sincerity can be counted as one of the social norms of the Turkish society. Amongst the TurkishIslamic traditions like; religious holidays, weddings, funerals are occur in the same house with men and women without a discrimination.

2.3. Architectural values While the aforementioned social values and norms necessitate certain behaviours they affect the living environment. This situation directly causes the society to create its own architectural values. For instance; privacy of woman and family causes the specialization of some places in the house. This situation organized the form of house and its relation with external environment differently. The visual relation with the external environment is as short as possible. While there are no areal separation for the male and female members of the family, men guests gather in the common room in the basement and the other parts of the house are more private. So, there is a separation between common and private rooms in the house. This situation defines the visual contact of the guests to the woman and the family according to their closeness to the family.

Man and woman enter to house from the same entrance and they can use the gathering space which is in front of the entrance together. Most of the activities which occur in the house is done in this place. The usage of rooms varies for the needs of the extended family. Rooms have multiple functions. Especially, the rooms in the basement are places to do multiple activities such as; eating, drinking, performing prayer, sitting and sleeping. The close neighbourhood relations and hospitality in the Turkish society’s traditions show their effect on the specialized places in the house and that shows the value of the guests. The garden of the house is used as an active place for hosting the guests and family, especially in Summer. The visual contact of between the garden and the street is important in terms of privacy. Within the context of research the families who live in the examined houses are engaged in agriculture and husbandry. In summer the garden is used actively for spending time, for weddings and festivals by family and neighbours.

2.4. Architectural Artefacts Aforementioned architectural values are very important factors for the shaping of architectural form (Figures 3– 6). There is a single entrance to the house and the common place that is seen after entering the house is called Hayat(Life). While the place which is called Hayat (Aşana, Sofa, Eyvan) is used often by men guests the other private rooms of the house are used by women. Hayat is the gathering place of the house. Most of the activities happen in this place of the house. From this place the other rooms and the core of the house can be reached. The number of the rooms varies the needs of the extended family. Rooms have different functions more than a single function. The guest room is necessarily found in every house and it is decorated more attentive. This situation reflects the value of the neighbours for the Turkish society. The gardens of the houses are used efficiently by the family. In the inspected houses the extended family structure causes the need for more rooms for the family members (Figures 9 and 10). In the Hayri Azman House we see that rooms are designed like they are apartments for families, the rooms are capable for bathing and cooking (Figures 7 and 8). As a result of the extended family structure and family privacy these needing rooms are specialized for the families and cause them to use the sofa when they get together. While the bathing cubicles in the rooms are used for daily cleaning, bathhouses used for weekly cleaning. The users who engaged in agriculture and husbandry for their financial income have specialized rooms which are functional for their occupation in the houses. There are barns for the bovine animals in the Yiğitler and Hayri Azman houses. For other houses this place is outside of the house. In addition to this place Hayri Azman House have extra rooms like; woodshed and hayloft.

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Figure 3. Affan Kalender house

Figure 5. Hayri Azman house

Figure 4. Yigitler house

Figure 6. Manzakoglu house

Figure 7. Hayri Azman house’s ground and first floor plans ___________________________________________________________________________________________________________ N. Erdoğan, S. Müştak, S. Kaplan: “Social Values and Norms in Architecture of Turkish House”, pp. 1–7

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Figure 8. Yigitler house ground floor plan

Figure 9. Manzakoglu house ground floor plan

Figure 10. Affan Kalender house ground floor plan

3. Conclusion

relations perceptibly. Architectural factors can’t be analysed or resolved without the culture and environment they are in. This model helped us to understand culture, cultural values, cultural norms and

Mazumdar & Mazumdar’s [8] four staged model procured us to explain the culture and architecture

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showed that a combined approach is necessary. Thus, it can be used as a methodological tool for researching and understanding cultural values related to architecture. In the houses which are inspected as Turkish house examples, the separation of men and women is shaped by Turkish and Islamic traditions. Basement rooms and sofa are generally the common rooms for the guests, the rooms from the upstairs are private and for the close family members. Garden walls regulate the house and street contact and create a visual barrier for to build the privacy of the house. In the houses there is a single entrance for everyone, women and men users can enter from the same entrance. As a result of the extended family structure, there are many rooms in the houses. These rooms are specialized for families to live sometimes, the rooms are capable for bathing and cooking. These rooms are convenient for flexible use, and can be used for all seasons. As a reflection of Turkish traditions like; close neighbourhood relations and hospitality, there are guest rooms which are decorated privately in the houses. The houses which are inspected within the research content; Kocaeli/Affan Kalender House, Sakarya / Yiğitler House, Zonguldak / Hayri Azman House, Trabzon / Manzakoğlu House are able to accommodate many cultures and finally appropriate methods for understanding the culture-architecture relationship needs to be taken up. There are many lessons for architects and designers to learn when using modern design criteria related to culture in general design principles.

Research. New York. Nova Publisher, 3rd Quarter, pp. 219-234. [3] Atik, D., 2011, A Suggestion Of A Model For The Determination Of Physical and Socio-Cultural Changes in Traditional Housing Areas: Edirne City Sample, Trakya University Graduate School of Natural and Applied Sciences Department of Architecture, PhD Thesis, Edirne. [4]

Cunningham, C.E., 1972, Order in the Atoni House, In WA Lessa and EZ Vogt (Eds.), Reader in comparative religion: An Anthropological Approach, New York: Harper & Row.

[5]

Kuban, D., 1982, Observations Over the Customs of Turkish House, Essays Over the Turkish and Islamic Art, Archaeology and Art Publications, İstanbul.

[6] Lawrence, R.J. 1985. A More Human History of Houses: Research Method and Application. In I. Altman and C. Werner (Eds.), Home Environments, New York, N.Y: Plenum, pp.113-132. [7] Mazumdar, S., & Mazumdar, S., 1994, Societal Values and Architecture : A Socio-Physical Model of Interrelationships, Journal of Architecture and Planning Research, 11:1, (spring). [8] Mazumdar, S., & Mazumdar, S., 1997a, Religious Traditions and Domestic Architecture: A Comparative Analysis of Zoroastrian and Islamic Houses in Iran, Journal of Architectural and Planning Research 14:3 Autumn. [9]

References [1]

[2]

Mazumdar, S., & Mazumdar, S., 1997b, Intergroup Social Relations and Architecture: Vernacular Architecture and Issues of Status, Power and Conflict, Environment and Behavior, Vol. 29, No.3, May.

Atik, D. & Erdoğan, N. 2007, Geleneksel Konut Mimarlığını Etkileyen Sosyo-Kültürel Faktörler: Edirne’de Şinasi Dörtok Evi, Trakya University Journal of Science, 8 (1), pp. 21-27.

[10] Rapoport, A., 1969a, House Form and Culture, Englewood Cliffs, NJ: Prentince Hall.

Erdoğan, N. & Atik, D. (2009). Socio-Cultural Factors that Affect the Traditional Edirne House. In Elen P. Lamant (Ed.). Socail Psychology: New

[11] Rapoport, A., 1969b, The Pueblo and Hogan, In P Oliver (Ed.), Shelter and Society, New York NY: Praeger, pp.66-79.

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DOI: 10.14621/tna.20160202

A Formulate Approach to Studying Visual Perception of Urban Landscape with a Cultural Context: A Case Study of Kumartuli, India Tamalee Basu*1), Mainak Ghosh2) 1)

Indian Institute of Engineering Science and Technology Shibpur 29 Indrani Park, Kolkata-700033, 711103 Howrah, India; tamaleebasu07@gmail.com 2) Indian Institute of Technology Kharagpur FTA-11, IIT Campus, 721302, Kharagpur, India; mg@arp.iitkgp.ernet.in

Abstract

1. Introduction

The visual perception that ties one’s experience to an urban place can be broadly classified into some built structures and landscape elements. This research aims at critically analyzing the visual perception of an urban place considering the landscape features. To study the visual perception of an urban place, the urban place can be analyzed in terms of both urban design parameters and visual communication design parameters. From the point of view of urban design parameters, an urban place consists of both physical and nonphysical aspects. Physical aspects include both macroscopic aspects of landform and nature as well as smaller details of street furniture, illumination, etc. Non-physical aspects involve semiotics. At first, the existing conditions of the different urban parameters are documented. On the basis of visual communication design parameters like image, typography and semiotics, these urban parameters are analyzed. Now, to test how these inter-relationships between urban design parameters and visual communication design parameters affect the human emotions regarding the visual perception of an urban place, case study of urban place was done in Kumartuli, a clay idol maker-based community in Kolkata, India. Data from the primary interview with the clay idol makers provided us data which suggests the future aspirations of people for the urban parameters. It was noted how much the general principles deduced from the inter relationships through literature review can be applied to a specialized community like that of Kumartuli. From this, some principles which remain same over cultural differences and some that deviate from the same are derived.

Kumartuli in Kolkata, India was chosen as the site to be studied. Kumartuli is a neighborhood in Kolkata which is so rich in its artistic heritage that it attracts tourists and photographers worldwide. It is a village for clay idols makers in the middle of a city like a cultural oasis. The streets of Kumartuli are very unique as one can see clay idols in their different stages of making placed on either sides of the street. The streets resemble a much rural and raw version of a museum of the tradition of clay idols of Hindu gods and goddesses. Thus, if one had to redesign the streetscape of such a community it would never be the same as that of any ordinary city street. The different urban parameters have been studied for the marked streets and nodes and a questionnaire interview was done with the local people for better understanding.

2. Research methodology Let us name the parameters for better understanding, U- [Urban Place]X- [Urban Design Parameters]Y[Visual Communication Design Parameters]A[Future aspirations questionnaire from local]B[Impact of sculptor lifestyle in present conditions] Steps of research:(Since, X is intrinsically related to U it was redundant to prove this relation.)

Keywords:

Article history:

Visual perception; Urban streetscape; Cultural impact Received: 0 2 May 2016 Revised: 19 July 2016 Accepted: 02 August 2016

Step 1. Critical analysis of existing condition of X and what principles are applicable from the generalised X and Y inter-relation (X and Y inter-relation is established from literature review) is done. Step 2. How much the results from A differ from guidelines derived from literature review is noted. Step 3. B is the overall conclusion of findings acquired from this research.

___________________________________________________________________________________________________________ T. Basu, M. Ghosh: “A Formulate Approach to Studying Visual Perception of Urban Landscape with a Cultural Context …”, pp. 8–19

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3.3. Vehicular access

3. Site 3.1. Location The Kumartuli region has been marked below in Figure 1 to show its location within Kolkata. The streets that have been studied as well as the nodes have been shown in Figure 2. The analysis-based study has been done of these marked streets.

3.2. Built structures characteristics

4. Urban parameters of the streetscape 4.1. Plants 4.1.1 Existing conditions

All the buildings range from one storey to up to four storeys. The buildings nearest to the streets where clay idol makers have to keep their clay idols to dry generally range between one to two storeys. The structures are mostly studio spaces or commercial with very few residential in nature [1] (Figure 3).

Figure 1. Location of Kumartuli

Only two and three wheelers can access the marked roads but the streets are mostly accessed by pedestrian and hence no separate footpath is there for pedestrians in most stretches of the streets.

Rarely any vegetation is there which results in the streets having no shade other than that of the structures on the sides. One of the reasons for lack of shade is so that the clay idol makers have enough sun to dry the idols. But in scorching heat of summer, the lack of shade creates a very unpleasant perception of the place to a

Figure 2. Streets studied

Figure 3. Land use pattern [1] ___________________________________________________________________________________________________________ T. Basu, M. Ghosh: “A Formulate Approach to Studying Visual Perception of Urban Landscape with a Cultural Context …”, pp. 8–19

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Figure 4. Tree visible in a node

non-worker. The lack of greenery also makes the clutter of the half done sculptures, straw figures, benches, wooden planks, raw materials, etc. on the sides of the street look more chaotic. The Figures 4 and 5 show two of the sparsely found trees in the locality. 4.1.2 Literature review Image– Elements: Green and red trees are preferred while purple can be both preferred and disliked .Orange-brown coloured trees are mostly disliked [2]. Blue-coloured trees are perceived to have the highest strength [3]. Pyramid-formed trees are preferred most [3]. Principles: Time for visual perception of each plant takes minimal scrutiny and time depending on the unique visual characteristics of the plant [4]. Well-spaced trees are preferred over dense vegetation or large expanses of monotonous undifferentiated land covers [5]. Good tree spacing reinforces human scale by providing a sense of cohesion, rhythm and street definition [6]. Continuous canopies of mature trees while providing visibility of quality historic or significant architecture is encouraged [6]. Meaning: Vegetation can be used to produce mystery in a place [5]. Semiotics– Semantics: Xeriscaping should be avoided [8]. Trees contain perceived symbolism [7] which can be utilized to perhaps enhance the cultural significance of Kumartuli.

Figure 5. Tree visible in another node

Syntactic: Landscape with trees is preferred more in an urban context [9, 10]. Familiar vegetation biomes were preferred highest [5]. Preferred vegetation patterns in a landform include clarity of edges and should not obstruct preferred visibility [11]. Pragmatics: Personal characteristics are effective on preferences of tree forms and colours [3]. 4.1.3 Future aspirations — Q: Should there be more trees? A: Not preferably except for the sole purpose of decorative shrubs; — Q: What kind of trees would you prefer in this locality? A: Low height of around 5 to 6 ft. height; — Q: What spacing? A: 5-6 ft; — Q: How should the trees adapt with seasons? A: Flowering shrubs are preferred; — Q: What kind of tree colour? A: Green; — Q: What should be the size of canopy? A: Trees are preferred to be smaller with no such opinion on the foliage size of shrubs but tall trees with large foliage are highly discouraged since the sculptors need the sun to dry the clay idols and shade from trees can be a major threat to their profession; — Q: What is the preferred form of canopy? A: Not much response was acquired in this aspect.

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4.2. Paving 4.2.1 Existing conditions Asphalt paving is there with poor drainage lacking any properly well-defined drainage channel. In the monsoons or the rainy period (where annual rainfall occurs around 1640mm) [12], the streets get muddy and often water logged making the entire place unhygienic. 4.2.2 Literature review Image– Elements: The colour of paving material influences function of space [13], hence the colour should be chosen wisely.

Syntactic: Pavement Patterns have a visual influence on the pedestrian walking behaviour [16]. Dynamic or harmonic paving designs makes us more aware about our surroundings [14]. 4.2.3 Future aspirations — Q: What kind of paving could there be if it were to be changed? A: Plain cement concrete should be used for its durability, economy and simple plain visual appearance thus not stealing viewer’s attention from the clay idols kept on the streets;

Principles:

— Q: What kind of pattern or scale or rhythm? A: Since paver blocks are not preferred by the community people there was not much response about this aspect;

Colour, pattern, rhythm are principles for a good paving design [14]. The complexity of pavement design helps to connect elements of an urban place across different scales. Different levels of design helps in hierarchical thinking [15].

— Q: Will you prefer regular paving patterns or irregular ones? A: Regular paving patterns are preferred more since the irregular patterns may turn out to distract the customer’s attention.

Meaning: Paving patterns contents meaning in some abstract sense [15].

4.3. Built landform 4.3.1 Existing conditions

Semiotics– Semantics: Pavement designs engage spectators to any place involuntarily. Regular pavement designs help spectators to perceive order amidst chaos [14].

Figure 6. The narrowest roads lead to the idol maker's studios

There are no perceptible undulations in the road surface, with structures mostly between G and G+1 height on both the sides of the street. The street widths vary from one to another. The widest places found are at the nodes (Figures 6, 7, 8 and 9).

Figure 7. Comparatively wider roads

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Figure 8. Roads widen towards the nodes

4.3.2 Literature overview

Figure 9. Road width maximum at nodes

4.4. Signage

Image–

4.4.1 Existing conditions

Elements: There is a cross-cultural similarity in preferences in favour of landscapes with natural styles. Landscapes with rectangular or formal designs are less preferred.

The streets are cluttered with various kinds of signage of shops, street signs, etc., which are not well-kept; thus disrupting the beauty and elegance of such a heritage land.

Principles: Homogenous ground texture, medium to high levels of depth, presence of a focal point, and moderate levels of mystery leads to high level of preferences in natural scenes. Complexity influences positively in the visual preference of a landscape. Preference of modernity and novelty is more among rural residents [5]. Semiotics– People prefer novelty to familiarity. Younger people prefer novelty and others familiarity. “Different cultural identities and status categories influence the ways in which people experience and understand their environments” [27].

4.4.2 Literature review Image– Elements: Straightforward, uncomplicated, and colourcoordinated signage and graphics receives a positive rating, but more conventional signage in an otherwise positive context will also receive a positive, although lower, positive rating [17]. Signage or graphics on conventional support structures that appear flimsy or with sharp edges are rated negatively. Signage or graphics that are not well kept, with a complicated variety of colours and shapes are rated negatively [17]. Meaning:

4.3.3 Future aspirations — Q: Would it be better if surrounding buildings were higher or lower? A: Present height is satisfactory; — Q: Should street width be narrower or wider? A: Wider is preferred, around 24 ft. minimum; — Q: How much vegetation should landform consist of? A: On a static image of any street of Kumartuli, the area of the image covered by the vegetation should consist more than half that of the built structures.

Signage may reflect the artistic nature of a village [18]. Typography– Typography with symbol used due to limited literacy [19]. Size of lettering should be appropriate and in relation with distance from viewer and in using smaller sized signs, however care should be taken that they meet the needs of partially sighted people and conform to the guidance in inclusive mobility [18]. Semiotics– Semantics:

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People’s orientation and navigation through space can affect their quality of life. Sense of orientation helps people to feel confident and less anxious [5]. Pragmatics: Signage helps as a part in the overall perception of a place [20]. An injunctive-proscriptive message was twice as effective in guiding the movement of people as a descriptive-prescriptive message [21]. How individuals perceive different types of signage can be understood by the Figure 10 and 11 [22].

Elements: Some colours such as red and yellow are helpful in creating hypnotic effects. This is exemplified with the dominant red colour of Coca-Cola advertisements. Meaning: Animals can also be used as symbols. For example, Coca-Cola uses the white polar bear as a symbol of freshness and to emphasise that its drink can be consumed at a very low temperature [23]. Typography–

4.4.3 Future aspirations — Q: What kind of characteristics should signage have? A: Straight forward, uncomplicated, and colourcoordinated signage and graphics; — Q: What is the preferred design genre? A:Face of deity/ idol; — Q: What characteristics are recommended for the typography? A: Formal, bold, bright colours.

4.5. Advertisement

Another important point for effective advertisement is that the advertisement texts should be legible which depends on text’s language (used easy readable and understandable letter types) However legibility is not enough alone for the message’s reach effect, the consumer should feel interest [24]. New and innovative images and texts are encouraged. The translator should also be familiar with the ideological and cultural background of the target setting. For example, in Arabic countries, it is not acceptable to talk about intimate matters in advertising texts. Similarly, in Islamic regions, the use of the word pig in a food campaign may weaken the campaign. Semiotics–

4.5.1 Existing conditions The sculptures that appear alongside the streets of Kumartuli act as advertisements for the workmanship of sculptors. This is the primary basis of attracting customers for buying the idols. Other than this other advertisement board which are seen scattered around the streetscape lack in aesthetic qualities (Figure 12). 4.5.1

Literature review

Image–

Figure 10. Preference of design genre

Visual elements carry many connotations as they portray what the user will be like or look like when using a given product. “The higher the number of connotative chains generated, the greater is the likelihood that the product will appeal to consumers” [23]. Semantics: Marketing campaigns can be promoted using communication and interactive advertisements as a tool [25]. Visual clues are given for engaging the customer with the design of the advertisement.

Figure11. Rationale for sorting ofsymbol cards

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— Q: What kind of typography characteristics should be used? A: Bold, formal, straight forward font style, written in both English and Bengali.

4.6. Street furniture 4.6.1 Existing conditions The most common street furniture include street lamppost, veranda of the houses, benches for workmen, etc. out of which none are maintained or well kept. 4.6.2 Literature review Image– Elements: Figure 12. Example of lack of maintenance of advertisements

customer with the design of the advertisement. Advertisements that have double coded meaning to it are preferred more. The perception of an advertisement changes with the use of language and the cultural background of the location [26]. Syntactic: Sometimes, the grammar of verbal communication is reflected in the process of communication through advertisement [27]. Pragmatics: Past experience acts as poetic function of communication in advertisement [27]. A given advertisement that may work in a poor country may not work in a developed country. Similarly advertising texts are highly culture-oriented, and linguistic and stylistic preferences differ from one place to another [23]. A translated advertisement should reflect the ideology of the place and time, where and when it is produced [23]. 4.5.2 Future aspirations — Q: What colour scheme should be used for advertisements? A: Bright, vibrant; — Q: Should any symbolic meaning of the place be transferred through the advertisement for localization? A: Yes, It is preferred;

There are bird feeders, water spouts, street light poles and the chaupal / veranda: the raised platforms outside the houses, for general seating purposes - these are styles of street furniture we often see here on the streets of India [28]. Principles: Sometimes if the street furniture is made to merge with the urban scene, the result may not coincide with the user's demands [29]. Semiotics– In Adelaide’s Rundle Street Mall, narrow width, clustered seating and lack of vehicle access provide it with a more intimate ambience [30]. Visual rigidity of street furniture should be taken care of to promote dynamic interaction between an individual and the surrounding [31]. The correct setting of the furniture in thoughtful and appropriate manner can enhance the outdoor area and thus people can get attracted to these areas [28]. The design of street furniture should ideally be integrated into the overall appearance of a street [18]. 4.6.3 Future aspirations — Q: What more street furniture is required for it to look better? A: No more benches should be there as it may promote too much social interaction which can stall the idol maker’s devotion to work. However, bigger dustbins, properly maintained street light posts would be preferred; — Q: What style of benches/ other street furniture? A: Modernist street furniture is preferred;

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— Q: What colour should they be of? A: Metallic or other colours that depict a modern theme.

4.7. Colour scheme 4.7.1 Existing conditions There is no proper colour scheme followed in the streets. Old Kolkata style homes with red walls and green windows give a traditional theme while slums have grown up all around the streets (which houses the studios of the talented artisans) with the streets crowded with grey clay idols and straw frameworks. There are also some abrupt modern developments of apartments, etc. which have no regards for the heritage of the site. The overall visual appearance created thus lacks any definite pattern of a colour scheme. 4.7.2 Literature review Image– Elements: One of the most important factors concerning the image of a city is the colour [32]. Different colour schemes have been followed in some old cities [33] to maintain a continuity of the context. Colours can be classified by time– Permanent colours, semi- permanent colours, temporary colours. Types of colours in an urban scene on the basis of materials are: natural colours, artificial colours or cultural colours and non-specific [32]. Principles: Harmonious and perfect colour scheme will motivate people’s psychology of beauty and kindness, thereby arousing people’s psychological and visual excitement and emotional resonance. Colour can also adjust the proportion of landscape modelling and play an important role in making good for deficiency and setting off artistic characteristics of modelling by contrast [34]. Semiotics– Semantics: It is a visual element with the most expressive force and infectivity. To some extent, colour even has stronger impact and attraction than the form of an object or a building [34]. The inhabitants of Warsaw, desiring to reconnect with the past, felt the need of rebuilding the old town keeping the previous colour. In Tokyo there exists "colour riots", because of the

excessive chromatics and the dynamic advertising. On the other hand, cities of China or of the United Arab Emirates, in their desire to display the technological and economic success, turn to colours able to support this message and attract attention [32]. Syntactic: Similar result can be acquired from both natural and artificially coloured objects [35]. Importance of colour will change with the scene considered in any landscape [35]. Pragmatics: Carefully coordinated colour contributes to city’s identity “beyond the buildings, people, spaces, and artefacts that make up the city: not alone does colour give meaning to cities but cities give meaning to colour” [36]. 4.7.3 Future aspirations — Q: What will be the colour choice w.r.t time? A: The permanent colours should be bright depicting the colourfulness of such an artistic community; — -Q: What will be the colour choice w.r.t. material? A: Metallic colours are preferred; — Q: Should earth tones and shades of greens be used to compensate for the lack of vegetation? A: No, if natural colours are required, actual vegetation should be used instead of using such artificial means; — Q: Should traditional colour scheme of north Kolkata of red houses and green windows be used? A: Modern colour scheme is preferred over traditional colour scheme.

4.8. Sculpture and art 4.8.1 Existing conditions Sculptures in different stages of construction are kept outside the shops, encroaching upon the streets for proper drying of clay for unfinished sculptures as well as to sell finished idols by displaying them on the streets. 4.8.2 Literature review Semiotics– Semantics:

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Public art is used to enhance an urban place by adding semantic value. Arts can be used to resemanticize or subvert the dominant meanings of spaces or buildings. Examples from the Polish-born artist Krzysztof Wodiczko illustrate this potential. A large part of Wodiczko’s work has involved projections onto well-known monuments with the intention of either emphasizing the problematic ideologies they commemorate or inverting their symbolic meanings. Wodiczkohas, for example, projected the image of a missile onto Nelson’s column and images of homelessness onto Boston monuments. James Peto has argued of the latter: Krzysztof Wodiczko’s Homeless Projections of the late 1980s question the perceived meanings of architecture and give new significance to the monuments of city streets and those who live in their shadows [37]. “A good environment sculpture makes each person that appreciates it fully indulge in its rich culture atmosphere, from which they can feel the real art and the beat pulse of this city; it is able to adjust the colour of cities and regulate the people’s mentality and the visual experience, being perceived as a piece of “oasis.” The visual awareness of the public of image shapes in environmental sculpture is not just knowledge of sculpture itself, but also the cognition of the surrounding environment. Through the interpretation of visual information of the environment sculpture, the public cognizes environment and therefore, achieve the cognition and communication of the urban space environment” [38]. Pragmatics: Past experience and public art are connected by design: “Public art is cited with the ability to replace a quality that has vanished from a place or has been ignored; this is achieved, it is argued through commemoration of events or aspects of local history ” [37]. 4.8.3 Future aspirations — Q: What kind of display? Figure or columns or abstract? A: Human figure statues should be there, not columns or abstract; — Q: What colour scheme of sculptures should be there? A: Different types of colour schemes should be used in a carefully integrated way, to cater for all kinds of viewer’s preferences; — Q: What spacing should be followed for the display arrangement?

A: Very close spacing should be there as these clay idols are the symbol of the community.

4.9. Illumination 4.9.1 Existing conditions Most clay idol makers being poor have to work under the street lamps. The street lamps have a yellow tinge to the light. As a result the same colour on an idol looks different under sunlight and at night. This makes it next to impossible for the idol makers to do any painting job at night and their profession suffers heavily. 4.9.2 Literature review Image– Elements: “In summary, there are 4 main design parameters for artificial lighting design, which would result in different appearance of the lit environment and any misapplications might affect the quality of the lit environment. These features are namely Glare, Distribution, Colour Temperature and Colour Rendering index. To simplify the different design techniques employed in lighting, there are basically 2 types, direct lighting and diffused. Direct lighting could be translated as the highlighting of chosen object in space, structuring the visual environment, resulting in focal points and sharp shadows. On the other hand, Diffused Lighting is used for general lighting of the environment, with even Illuminance. On the other hand, Colour Temperature of lamps would influence on the choice of the lamp, if illumination of specific colours is required. For example, blue and green objects should not be illuminated with thermal radiator lamps, as the reddish inclination of the emitted light rays would subdued the actual colour of the object, rendering it greyish. However, if these colours were being illuminated with daylight white fluorescent lamps, it would appear better, despite the fact that the colour rendition of fluorescent is lower than incandescent lamps” [39]. Principles: In the initiation of artificial lighting design, 3 concepts of lighting were introduced, namely, general lighting, focal glow and play of brilliance. These 3 concepts summarized the importance of artificial lighting in the structuring of the visual environment. “General Lighting” was understood as the provision of sufficient lighting for general purposes, which was also termed as “ambient lighting”. “Focal Glow”, however, introduced

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concept of visual hierarchy into lighting, by the highlighting of “relevant visual information” using higher intensity lighting, or differed lighting technique, for the intended object to be brought into focus amid the generally lit environment. “Play of Brilliance” meant that artificial lighting could enable the conveyance of visual information and evoking intended spatial mood. Therefore, these basic concepts behind qualitative lighting had detailed how artificial lighting could visually structure space, offering a kaleidoscopic range of possibilities on how lighting could relate to architecture and space, while addressing to the “perceptual needs of the users of the space” [39]. Semiotics– Semantics: Street perception is significantly enhanced by lighting [40]. Lighting helps in shaping people’s behavior [41]. Syntactic: With the rate of illumination the sense of security is highly related. With higher degree of public lighting people feel safer [42, 43].

Signage: Well kept, straight forward, color coded, bright bold signs are to be used with legible texts in both English and Bengali. Advertising: advertising for companies should have some sensitive approach while placing their campaigns in Kumartuli. It should somehow connect to the culture and art of the place through design. Street Furniture: No need for benches(on contrary to the suggestion of societal spaces by the literature review) but bigger dustbins and sturdy light posts with a modern outlook would give the street a refreshed look. Color scheme: there should be a variety in the color scheme breaking the monotony, and modernity should be introduced in harmony to the historically artistic street. Sculpture and art: the sculptures should be better organized with a prime focus on human figure idols since that is the primary kind of sculpture made by the community. Illumination: Pure white light in adequacy should be installed with three levels of lighting for the proper functional and aesthetic perception of the street.

Pragmatics:

Acknowledgements

With optimized use of brightness, the preference of urban place can be increased. So a brightness emphasis that helps to make sense of an environment increases its coherence, making it a more pleasant space[44]. This principle may be used for highlighting the clay idols.

I hereby thank my parents for the immense support they have provided me for the completion of this paper. I am also thankful to the Kumartuli community for their support and co-operation. I am especially thankful to Mr. Babu Pal, the secretary of Kumartuli Society for the artisans who helped a lot with the interview.

4.9.3 Future aspirations

References

— Q: What colour of lighting should be used? A: Pure white light with CRI as close as possible to sunlight;

[1] SRIC, SandHI, IIT Kharagpur, Sandhi: Creative Innovation Hub Report

— Q: What principle of lighting should be used?

[2] A.J. Kaufman and V.I. Lohr, Does Plant Color Affect Emotional and Physiological Responses to Landscapes? (2004), pg. 3, 4.

A: Three layers of lighting should be there, street lights for diffused lighting, lighting for the studios or shops and task lighting above the clay

5. Conclusion Plants: There should be no tall trees, only bushes or other decorative use of trees. Green trees are to be used which would make up a large portion of the streetscape. Paving: Plain cement paving is to be used in order to prevent the shifting of focus from the sculptures. Built landform: Wider streets are preferred more than present conditions and modern theme for the overall streetscape is to be maintained.

[3] Haldun Muderrisoglu, Sukran Aydin,Ozgur Yerli, Elif Kutay, effects of colours and forms of trees on visual perceptions, Department of Landscape Architecture, Faculty of Forestry, 2009, Düzce University, Turkey, E-mail: haldunm@duzce.edu.tr [4] Alhazen, A. Mark Smith, Chapter 4, Alhacen's Theory of Visual Perception: A Critical Edition, with English Translation and Commentary, of the First Three Books of Alhacen's De Aspectibus, the Medieval Latin Version of Ibn Al-Haytham's Kitab Al-Manazir, Volumes 1-2. [5] Isil CakciKaymaz, Landscape www.intechopen.com

Perception,

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[6] Sarah Lindsay and David Sanders – NSCC , Jessica Donaldson, Will Thresher, Heather Penman and Juliet Glaister – Thresher Associates, Design of Streets A Reference Handbook for High Quality Streets, 01-10-2009, ref. pg-37. [7] Heidi A. Walcher, Yale University, Between Paradise and Political Capital: The Semiotics of Safavid Isfahan, Middle Eastern Natural Environments, Pg-4. [8] Lolita Nikolova, Xeriscape is Simply Wrong: Environment, Culture and Health in the Context of Urbanscape, 2015, International Institute of Anthropology Publications. [9] MahdiehAbkar, Mustafa Kamal M. S., SuhardiMaulan and SeyedRasoulDavoodi, Determining the visual preference of urban landscapes, Scientific Research and Essays Vol. 6(9), 2011. [10] Tanja Simonič, Urban landscape as a restorative environment: preferences and design considerations, ActaagriculturaeSlovenica, 2006 [11] Michael S Lee, Assessing Visual Preference for Louisiana River Landscape, General Technical Report (GTR). [12] Climate of Kolkata at a Glance – A Tourist Guide http://www.imdkolkata.gov.in/tourist/kolkata_to urism_weather_info_1.pdf [13] Carl Sundstrom, Dan Nabors, Visual Narrowing, http://pedbikesafe.org/bikesafe/countermeasure s_detail.cfm?CM_NUM=28 [14] Kim Williams, Environmental Patterns: Paving Designs by Tess Jaray, http://www.emis.de/journals/NNJ/Jaray.html [15] Terry M. Mikiten , Nikos A. Salingaros , Hing-Sing Yu, Pavements as Embodiments of Meaning for a Fractal Mind, Nexus Network Jounal, http://www.fractal.org/Bewustzijns-BesturingsModel/Fractal-Mind.htm [16] Fritz AkhmadNuzira and Bart Julien Dewancker, Video Observation and Analysis of the Pavement Pattern’s Visual Impact on Pedestrian Walking Experience in Japanese Low Carbon Society, Pg- 61 to 69. [17] Anthony Abbate Architect, Image preference survey, Broward County County-wide Community Design Guidebook, 2003. [18] Traffic Signs, Marking and Street Furniture, Reference paragraph- 10.18 Non-Statutory Signing, Ref. pg. no.- 15.

[19] The History of Typography and Place, Ref. Pg. No.5, http://www.signs.org/pdf2014/ISA_Typography_ White_Papers_FULL_FINAL.pdf [20] Daniel R. Montello, The Contribution of Space Syntax to a Comprehensive Theory of Environmental Psychology, 2007, ref. pg.-8. [21] American Psychological Association, Shaping ProEnvironment Behaviors, 2005. [22] Yael Marom-Tock and Gabriela Goldschmidt, Design for Safety: Symbol Genre in Safety Signs. [23] Kappe Fokam Christelle, The translation of advertisements: issues of semiotics, symbolism and persuasion, Submitted to the Faculty of Humanities, University of the Witwatersrand in partial fulfilment for the degree of Master of Arts in Translation, 01-02-2012. [24] Assist. Prof. Ph.D. Elif Eda Balkafl , Assist. Prof. Ph.D. Nesrin Tan Akbulut, Lecturer Ph.D. EsinKartopu, An Evaluative Study of Billboard Advedtisement’s Attention-Perception and Design Criteria, ISIMD 2005. [25] Christo Kaftandjiev, The Experiential Marketing’ Communicative Paradigm –Ways of Engaging Consumers to Interact (to be Involved) with Brands. [26] Daniel Chandler, Semiotics for Beginners, ref. pg.48. [27] Seliger, Marja, Visual Rhetoric in Outdoor Advertising, Sheffield Hallam University. [28] Abhishek Pal ,Department of Architecture, School of Planning and Architecture, Bhopal, Street Furniture in Landscape. [29] AgnèsLevitte, June, 2008, Discourse Or Disorder?

Street

Furniture:

[30] Joanna Clyne, Inside the circle: The spatial dynamics of contemporary street performance in Australia. [31] Ana Mafalda Luz, 2004, ‘Places In-Between: The Transitional Locations of Nomadic Narratives’. The Urban Signs and Spatial Elements of the inBetweenness, International Conference. [32] Veronica Maria, Zybaczynski, Colour - Important Factor In Preserving The Local Identity, Ref. pg.-2 [33] Paul Green- Armytage, 2001, Colour in art and design-current issues and prospects for the future. [34] Hongxia Wang, Huijing Wang, Xiaomin Hu, 2014, Artistic Expression of Urban Community Landscape Color.

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[35] Felix A. Wichmann, Lindsay T. Sharpe, Karl R. Gegenfurtner, 2002, The Contributions of Color to Recognition Memory for Natural Scenes. [36] Galyna McLellan, Dr. Mirko Guaralda, Environmental Colour and Well Being, 2014

Department of Architecture, School of Design and Environment, National University of Singapore. [40] gokcenfirdevsyucel, Amenities:Designing Landscape.

Street Furniture and the User-Orinted Urban

[37] Tim Hall & Iain Robertson, Public Art and Urban Regeneration: advocacy, claims and critical debates, Landscape Research, Vol. 26, No. 1, 5–26, 2001.

[41] Delores (Dee) Ginthner, Lighting: Its Effect on People and Spaces.

[38] He Yang, 2011, Psychological characteristics of cognition of environmental sculpture information.

[43] Jennifer Brons, March, 2010, Field Test Delta Snapshot Led Lighting.

[39] Ong Swee Hong, Design Basis to Quality Urban Lighting Masterplan, A Thesis submitted for the Degree of Master of Arts (Architecture)

[44] Robert Davis, Lighting Psychology: Cognitive and Emotional Responses to Lighting, www.ledinside.com, 2013.

[42] Leidschendam, the Netherlands, SWOV Fact sheet Public lighting.

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DOI: 10.14621/tna.20160203

Exploration of Optimal Solutions in Architecture Martin Kaftan Institute for Architecture and Media, Technical University Graz Graz, Austria; martin.kaftan@tugraz.at

Abstract

1. Introduction

Architects must deal with increasing amount of design constraints, which is the consequence of increasing demands on building’s performance in terms of sustainability and construction cost. On the other hand, complex geometries has become common part in architectural projects. Therefore, it is nowadays more true than before that the building’s qualities depend on architect’s ability to find the optimal solution for all, often contradicting constraints. This is a task for which due to the complexity necessitates the use of sophisticated solving algorithms integrated into the design workflow. The research proposes an integration of optimization apparatus called “Cognitive Control System” (CCS) into a parametric design framework. The CCS contains a set of global and local solvers. Its part is also an interface, the Interactive Graph Control by which the user can steer and control the optimization process in a transparent fashion. This interactive platform presents the user not only the best optimal solution, but also the whole range of other possible solution, even if less optimal.

Buildings are responsible for approximately 20-40 % of the total energy consumption [1]. However, for the smallest cost have the buildings the highest potential to reduce the emissions [2]. Society tries to respond to these problems, for example by implementing the directive 2010/31/EU, which was adopted in order to strengthen the energy performance requirements on buildings. This directive requires that all new buildings need to be “nearly zero energy buildings” by 2020. As a consequence, the CAD industry is driven by task of convergence of BIM and simulation programs. However, the reviews [3], [4] indicate that the simulation driven optimization methods are nowadays used only for a fine tuning of building design.

Keywords:

Multi-objective optimization; Parametric design; Solution space

Article history:

Received: 02 May 2016 Revised: Accepted: 29 July 2016

This "green awakening" has brought with it a significant amount of constraints for architectural form finding. This gaining complexity makes the design task very difficult without using computational tools. In addition, in order to optimize building’s performance effectively, the decisions must be made in the early stages of the design process. Decisions such as positioning, orientation and shape of the building, layout and distribution of windows on façades, consideration of solar potential and shading options have a significant impact on the overall energy performance and cost of a building. For example, optimizing orientation of a building can save up to 40% of the energy consumption without an additional cost [5]. And if the basics are non-optimal, more sophisticated technological solutions need to be deployed in order to meet requirements on the building performance, making such designs more expensive, complex and thus requiring more costly maintenance during operation. Since energy performance criteria are not the only criteria on buildings and other criteria are often contradictory, the design decision support system must support not only single-objective, but also a multiobjective approach [6]. However, if the building’s

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optimization is performed, typically 60% of the cases use only single-objective approach [4]. And if the multiobjective optimization is performed, only solution space is reviewed without taking in account the design range of the input variables [7].

optimizing algorithms [9]. Therefore, the final building is most often not optimal to all criteria, but only satisfactory equal to the designer’s level of ambition. minf x,p subject to g(x,p) ≤ 0

2. Optimisation Architectural design process is typically non-linear and non-quantifiable task of creating spaces and forms [8]. It is an iterative process of trial and error where must be addressed multiple objectives, such as aesthetics, building performance, structure, cost, comfort, etc. But the more energy-efficient is the building, the more expensive tends to be its construction. One might thus want to find a compromise between energy efficiency and construction costs. Another well-known trade-off in this context is the exploration of natural daylighting versus thermal insulation. The bigger the windows, the more daylight will possibly come in; but windows are usually much less efficient in terms of thermal insulation than walls. Then, some savings in the use of electricity for lighting might be compensated by a higher need of active HVAC systems, which are usually the most energydemanding equipment in a building. This multiple design constraints construct a design space of possible solutions that the architect must find. However, the exploration of vast design space is limited without the use of computers and mathematical

h(x,p) = 0

xi,LB ≤ xi ≤ xi,UB (i = 1,…,n) (g and h are real-valued functions)

(1)

Mathematical optimization, also called mathematical programming (MP) is in generally a mathematical method with goal of minimizing or maximizing some quantity (Eq. 1). The solver works with design variables. A design variable is a range of values for the given variable. If x1, x2, …, xn is considered to be the design variables, f(x) is considered to be the objective function, the optimization problem can be defined as minimize f (x); subject to x ɛ Ω. During the optimization process the solver computes number of configurations to find out the most feasible configuration which gives the best objective function. If the parametric model has multiple variable inputs and only single evaluated output, the function can be described in multidimensional space. For example if the variable inputs are x and y then the function f(x,y)= 9 - x2 - y2 can be described with a 3D surface (Figure 1). The optimal solution lays on the horizontal tangent plane to the surfaces, where the gradient value is zero.

Figure 1. 3D surface from function f(x,y)= 9 - x2 - y2 with horizontal tangent plane (gradient = 0) ___________________________________________________________________________________________________________ M. Kaftan: “Exploration of Optimal Solutions in Architecture”, pp. 20–27

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Figure 2. a) weighted sum, b) two-dimensional Pareto front

2.1. Single and multi-objective optimization When a single-objective optimization is set, the used algorithm will eventually find the optimal solution with respect of its fitness function. On the other hand, in cases of multi-objective optimization (MOO) problems it is not almost always possible to find one optimal design solution that satisfies all design objectives, therefore, referring to this solution as “utopia point” [10].In practice, there are two common approaches to multiobjective optimization problems: 1. Weighted Sum 2. Pareto Front In weighted sum approach, a composite objective function is defined by combining all of the individual objective functions (Figure 2a). This composite objective function can be determined with various methods, such as the use of weighting factors. It enables the use of only a single-objective algorithm, but determining the composite objective function needs knowledge of the relationships among individual objectives and their weighting factors which is not always possible. In addition, is method has other issues, for example diverse units for different objectives. Compare to the single-objective optimization where only one optimal solution is found, the MOO results in several equally efficient solutions; this group of solutions is called the Pareto optimal solutions or Pareto front (Figure 2b) [11], [12]. Pareto Optimality supports decision making by finding the equally optimal solutions such that it is not possible to improve a single individual objective without causing at least one other individual objective to become worse.

3. Solvers Contemporary architects and engineers typically generate computer building models that get modified by the design process until final drawings are produced for construction. Designing a building is a one-time operation compared to other industries, such as software development, where the final output can be thoroughly tested and updated in the future. In building industry any corrections of the design mistakes during or after construction are usually expensive and can cause the project to go over budget. Since it is seldom possible to build a full-scale prototype in order to test the building’s performance, the architects most of the time rely on analysis from computer simulations. The use of computation to solve building performance problems in practice typically falls into two categories: Problem specific computation and problem generic computation.

3.1. Problem specific computation Computation is in the architectural design most commonly used for solving a singular specific problem. As such it can be in the context of optimization process also called a heuristic approach. In computer science, heuristic methods are techniques for solving problems that require some expert knowledge embedded in the algorithm. Their task is to typically optimize a single criteria. In building design these computational methods are most commonly employed in several design tasks. The first main category includes form finding algorithms. These have an embedded structural logic and are used for developing a geometric form computationally where

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the geometry faces structural problems that cannot or are difficult to be solved analytically [13], [14]. In the second main category are algorithms that generate building components; these have an embedded construction logic and boundary conditions. They are typically needed in design cases where large amount of the same components is used, but the local conditions for each component fluctuate. An example of such optimal component placement is the point-fixed structural glazing system for doubleglazing façades. The supporting cable structure can be tensioned against each other to form a double curved surface, an example is the Seattle Tacoma International Airport [15]. However, using this construction system for complex geometry is limited by the boundary conditions of the point-fixed connectors - the spiders (Figure 3a). But because these conditions are well defined, the problem can be algorithmically described within a solver, which then places the component in a balanced configuration on each node of the glass panels (Figure 3b). If the connector cannot be placed, it indicates on the model how and where it exceeds its boundary conditions. The heuristic methods are suitable to solve architectural and engineering problems that can be clearly declared and the method for solving the problem is well known. In practice heuristics dominate the design process, for example, one algorithm is used for surface generation, another one for re-meshing that surface into planar panels, and another for replacing the panels with façade components, etc. Therefore, these methods are suitable for the architect/engineer that wants to solve a welldefined problem by using computation.

3.2. Problem generic computation Generic algorithms make no assumptions about the problem, and therefore require searching through a very large space of candidate solutions. Because they do not

rely on a specific problem, they can be generalized and interchanged, based on the suitability to a particular problem. This independence classifies them as metaheuristic solvers. They are more appropriate than heuristic methods when it is not clear which direction will make improvements, i.e. a poor knowledge of the possible space of solutions [16]. Unlike heuristic methods that embed engineering performance within the process itself, metaheuristics must by their nature conduct some sort of analysis at each iteration to understand the current state of the proposed solution. The quality of the found solution is then influenced by how good it is compared to a measured performance. Metaheuristics cannot guarantee that an optimal solution has been found without assessing the entire solution space. However, these methods have embedded search logic to find solutions, which task is to narrow the possible number of designs to be evaluated while still ensuring a good solution is achieved. Some examples of generic solvers are: 1. Brute-Force Search 2. Hill Climbing 3. Evolutionary Algorithms (including Genetic algorithms) 4. Neural Networks 5. Simulated Annealing 6. Particle Swarm Optimization 7. Nonlinear programming algorithms Considering the task of optimization of building’s performance, it is apparent that generic solvers are those suitable (and used) for the task. But building’s parametric models are fairly complex and

Figure 3. a) point-fixed connector (spider), b) c) optimal placement of point-fixed connectors on double curved surfaces with embedded error analysis ___________________________________________________________________________________________________________ M. Kaftan: “Exploration of Optimal Solutions in Architecture”, pp. 20–27

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Figure 4. Diagram of Cognitive Control System

Figure 5. Example figure

computational time needed for analysis can take seconds or minutes (for example for daylight analysis). For an architect this means that to be able to use optimization framework on daily bases, the amount of iterations that the solver must compute needs to be as lower as possible.

4. Control system In 1981 G. Stiny and L. March in their article “Design Machines” [17] presented the principles of development

of an autonomous system for creating designs. In accordance with their theory, the missing part in contemporary CAD software is a cognitive link that bridges the gap between what is possible and what is actual. Cognition or “knowing” can be according to Stiny defined in terms of the ability to respond to environmental events, and the ‘stimulus’ is the part of the environment that is absorbed by the structure of the model. It is the selector of the best design solutions, describing how and when the language and the context correspond to each other.

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In this notion has been developed the “Cognitive Control System” (CCS) as part of the parametric framework for buildings optimization called Augmented Parametrics (AugP) [6]. The CCS is a package including set of optimization algorithms connected to visualisation tools. Its goal is not only to find optimal solutions to given criteria by using an automatic solver, but also to analyse and present relations among design variables and objectives (Figure 4).

4.1. Interaction with design and solution spaces Most architects lack intensive training in optimization, and optimization tools are usually severely limited in their graphical interface or the data must be exported to other software for graphical evaluation. On the other hand, designers are highly visual and are able to process

Figure 6. a) Roof structurally optimized form finding, b) Optimization of family house in terms of energy consumption, daylight and cost, c) Optimization of museum of aeronautics for structure, sun exposure and floor area ___________________________________________________________________________________________________________ M. Kaftan: “Exploration of Optimal Solutions in Architecture”, pp. 20–27

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and evaluate information more quickly graphically. Therefore, beside optimization solvers it is crucial to also integrate a strongly graphical interface (Figure 5). The design space is presented by an interactive graph, for example the radar chart, where design variables are arranged on equiangular spokes (figure 5b). With the graph can be analysed the solver’s search progression as it converges to optimal solutions, which differs according the used solving method. The interactive interface provides visual representations of the design space which helps the architect to understand a problem in an organized, systematic way that can help inform the critical conceptual decisions. Beyond global behaviour, the CCS interface can also convey information about the relative importance and behaviour of individual design variables. For example, which variables contribute significantly to changes in performance and which matter less? Which variables must be set to particular values for reasonable performance? While the first benefit helps architects prepare for design space exploration and optimization approaches, it can also be used during exploration and optimization to better understand these processes (Figure 6). In both cases, visualisation shows the designers how considered designs connect to each other, and how direct or meandering the path toward a selected solution is. This information can feed back into the exploration and optimization processes to improve their performance. More broadly, the CCS can be also seen as “Design by Shopping”, which is a design method that was introduced by Balling [18]. This idea is motivated by the need of designers to consider many alternative options, prior to formalizing their design goals in the strict, numerical manner required by traditional optimization. In contrast with optimization, the shopping approach aims to present designers with a catalogue of options and affiliated prices (i.e. performance).

References [1] Pérez-Lombard, L., Ortiz, J. and Pout, C., A review on buildings energy consumption information, Energy and Buildings, 40, 2008, pp. 394-398. [2] UNEP, Buildings and Climate Change, United Nations Environment Programme, Paris, 2009. [3] Attia, S., Hamdy, M., et al, Assessing the Gaps and Needs for Integrating Building Performance Optimization Tools in Net Zero Energy Buildings Design, Energy and Buildings, 60, 2013, pp. 110– 124. [4] Evins, R., A review of computational optimisation methods applied to sustainable building design,

Renewable and Sustainable Energy Reviews, 22, 2013, pp. 230-245. [5] Kaftan, M., and Pavlicek, J., Form finding of passive houses, Proceedings of workshop SUBA (Sustainable Construction of Buildings and Sustainable Development of Urban Space), Prague, CVUT, 2010, pp. 14-21. [6] Kaftan, M., Manahl, et al, Augmented Parametrics - A Novel Framework for Numerical Optimizations in a Parametric Design Workflow, Rethinking Comprehensive Design: Speculative Counterculture, CAADRIA, 2014, pp. 615-624. [7] Kaftan, M., COGNITIVE BUILDING SYSTEMS – Optimization Algorithms in Architecture from Design to Production, Prague, Ph.D. thesis, CTU, 2015. [8] Andersen, M., Kleindienst, et al, An intuitive daylight performance analysis and optimization approach, Building Research adn Information, 36, 2008, pp. 593-607. [9] Woodbury, R., Burrow, A. , Whither Design Space, Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 20, 2006, pp. 63-82. [10] Deb, K., Multi-Objective Optimization Using Evolutionary Algorithms, John Wiley & Sons, New York, 2001. [11] Ryu, Jong-hyun, Pareto front approximation with adaptive weighted sum method in multiobjective simulation optimization, Proceedings of the 2009 Winter Simulation Conference, Austin, 2009, pp. 623-633. [12] Kim, I.Y., de Weck, O.L., Adaptive weighted sum method for multiobjective optimization: a new method for Pareto front generation, Structural and Multidisciplinary Optimization, 31, 2006, pp. 105116. [13] Chilton, J. C., Heinz Isler: The Engineer’s Contribution to Contemporary Architecture, Thomas Telford, 2000. [14] Otto, F, Bayern, W., et al, Finding Form: Towards an Architecture of the Minimal, Axel Menges, 1995. [15] Post, N.M., Cable-Supported Glass Wall Made Feasible by Extra Curve, http://enr.construction.com/nexs/buildings/archi ves/050411.asp., 2005. [16] Blum, Ch., Roli, A., Metaheuristics in Combinatorial Optimization: Overview and Conceptual Comparison, ACM Computing Surveys, 35, 2003, pp. 268-308.

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[17] Stiny, G., March, L., Design machines, Environment and Planning B, 8, 1981, pp. 245-255.

[18] Balling, R., Design by shopping: A new paradigm?, Proceedings of the Third World Congress of structural and multidisciplinary optimization (SCSMO-3), 1983, pp. 295-297.

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DOI: 10.14621/tna.20160204

Architecture and Didactics: A New Cultural Centre for Matera, European Capital of Culture 2019 Giuseppe Fallacara*, Micaela Colella, Maurizio Barberio Department of Civil Engineering and Architecture, Polytechnic University of Bari Via Orabona 4, 70125 Bari, Italy; giuseppe.fallacara@poliba.it

Abstract

1. Introduction

The paper describes the students’ works, which included posters and physical models, were the partial outcomes of the current 3rd year design studio, led by Prof Giuseppe Fallacara and taught with the support of Maurizio Barberio and Micaela Colella, both Ph.D. students at the Polytechnic of Bari. The goal was to simulate the activity of a large architecture practice, involved in the design of a public building, which generally requires the contribution of a large number of architects and designers. The students were given a brief for a new museum and multipurpose centre in Matera, Italy, which was recently nominated European Capital of Culture 2019. They had to deliver a design proposal, a rapid prototyped model and a short video.

University studies establishes the basis of an essential education of the students. However, probably even more important is the way university programs influence future professionals in developing the skill required in team working and while sharing responsibilities, especially in the architecture schools where students will seldom perform their work in isolation. On this assumption, Giuseppe Fallacara, Associate Professor from the Department of Civil Engineering and Architecture, Polytechnic University of Bari, with the support of his assistants, Maurizio Barberio and Micaela Colella, has used an unusual teaching method in the current third year Design Studio. This student-centred approach has resulted in a series of cooperative lessons, in which both students and tutors worked on projects under conditions that ensured equality between them. In this way, it has been possible to provide the necessary intellectual and technical tools to respond a complex and vast issue as the one professors and students have chosen together during collaborative lecturers and active participation, in order to have an immediate feedback about students understanding, that results in the equalization of competencies and skills.

2. Educational project and course planning

Keywords:

Mediterranean; Stone architecture; Sustainability; Museum; Matera

Article history:

Received: 18 April 2016 Revised: 18 July 2016 Accepted: 01 August 2016

Since the academic year 2015-2016, the aim of the course analysed in this paper is to investigate a new way of teaching architectural design at University, basing all academic activities on key concepts such as Experiential Learning and Flipped Classroom. These two concepts arose at different times in the history of pedagogy and they inspired the organization of the course, which has gradually changed even according to the feedback received from the students. The aim is to create a learning process where students are actively engaged; they are required to participate to demonstrate a process, analyse an argument, or apply a concept to a

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real-world situation. Students are then deliberately forced to face uncertain situations, adapt and manage the stress. This allows students to develop their problem solving skills through creativity that is a key part of their job. The current state of the labour market, in fact, requires a considerable capacity to adapt to various changes; consequently, what it really matters is the ability to acquire new knowledge quickly and to use that knowledge to build new skills. The definition of Experiential Learning, by the US educational theorist David Kolb [1], was inspired, among others, by the work of John Dewey. In his book Experience and Education, written in 1938 [2], Dewey criticizes the traditional teaching methods since knowledge is transmitted exclusively through the books and students are not involved in the learning process. Therefore, the acquisition of knowledge or skill is achieved through repetitive practice. Besides these important concepts, the course also examined learning experiences and perceptions of the flipped classroom model [3]. With this method, the role of the teacher results radically changed: he guides the students in processing the project critically and actively, encouraging him to face and solve complex tasks. In order for this method to be effective and used in teaching a complex and heterogeneous discipline such as architectural design, a case study concerning an open competition is presented to simulate the dynamics that occurs in a great architectural office with a multi-discipline community of professionals. The simulation of an open competition is in fact one of the professional situations that involves a large number of designers and specialists. In particular, the above-mentioned competition focuses on the upcoming event that involves Matera, a city of the Southern Italy, as the 2019 European Capital of Culture. According to the guidelines that the official application document provided [4], together with students, possible architectural topics and their location have been identified. After the completion of group discussion, the project concerning a new multipurpose cultural centre

has been considered as the most appropriate to accomplish the teaching approach of the course.

3. The project 3.1. Overview of current museum presence in Basilicata and further developments Basilicata boasts a great number of museums that are located in different zones of the region, offering a fairly rich and varied panorama. From the analysis of the dislocation of the most important museums, such as National and Provincial museums, a large number of museums in the region results [5]. In addition to the museums in the two regional capitals, other five museums are situated in the area from Vulture to the Ionian coast through the Val d'Agri, together with a dense network of local museums, often specialized in specific topics and sometimes with considerable success. In many other cases, however, the museums of Basilicata, in particularly smaller ones, have considerable difficulties concerning quality, accessibility and development. The result is a complex and fragmented situation (Figure 1) that combines its positive side, the considerable geographical spread and the development of local resources, with the negative aspects comprising inadequate infrastructures and the lack of databases and common guidelines to ensure effective communication within the museum institutions and with the user. A more detailed analysis may relate to the location of the main types of museums in the Basilicata Region (archaeological museum, art museum and demo-ethnoanthropological museums). The works and findings showed in the most part of the exhibitions - have local and regional origin. This results evident considering their decentralized and diffuse nature, that is very attentive to history and local traditions but consequently they have a short-range diffusion. The types of findings,

Figure 1. From left to right: quantity of archaeological, artistic and ethnographic museums ___________________________________________________________________________________________________________ G. Fallacara, M. Colella, M. Barberio: “Architecture and Didactics: A New Cultural Centre for Matera, European Capital of …”, pp. 28–36

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housed in seven of the eight national museums in the region, almost represent the evolution of civilization in Basilicata from the Palaeolithic to the Roman period. They are above all ceramic products; there are few sculptural and architectural products. Overall, the amount, as well as the quality, of the archaeological findings showed in the museums of Basilicata turns out to be very significant; of course, these finding must be added to the likely vast amounts of findings stored in warehouses, or that are inaccessible to the public. In general, the main archaeological museums are situated where important settlements were located in ancient times, such as Metaponto, Policoro or Grumentum, and they exhibit the findings collected in the surrounding areas. Similarly, although they cover a larger area, the museum of Matera and the museum of Melfi collect the findings belonging to their respective territories. The only archaeological museum that aims to represent a geographically larger history is the Museo Archeologico Nazionale della Basilicata in Potenza [6]. Art museums have less impact in the region: the remarkable collections these museums house are almost exclusively concerned with the sacred art of Basilicata in Medieval and Modern times. An exception is the MUSMA of Matera, dedicated to contemporary sculpture, with one of the most interesting exhibition of the Italian art. Demo-ethno-anthropological museums have a very important place in the region [7]; in fact, they are widely disseminated in the territory and closely connected to the local identity. An accurate analysis of present situation of the museums in Basilicata is the indispensable starting-point for any argument concerning the inclusion of a new, ambitious museum in the region. These arguments must start taking into account both strengths and weaknesses, so that the new museum could exploit the strengths to face the weaknesses, without overlap or imitate the pre-existing museums. The chance for its realization should not be underestimated: the visibility that the event Matera

2019 ensures will be used to enhance the Basilicata and the southern Italy within the entire European context. These assumptions guide, therefore, the inclusion in Matera of a new museum complex dedicated to both archaeology and to the history of architecture of the region. The complex should offer to the European visitors in 2019 an exhaustive panorama that represents the region. Finally, the museum should be an opportunity to enhance the archaeological heritage that already exists but that is inaccessible or barely visible, to improve communication and the infrastructure of the existing museums and to create a network for the exchange of information based on a common database.

3.2. General description of the project and sustainability criteria The application document of Matera 2019 [4] emphasizes the economic and social sustainability of the entire event, especially stating the desire of renovating the existing buildings, reactivating repopulation phenomena of the abandoned spaces of the historic centre. Whilst considering this statement sacrosanct, we believe that the redevelopment of a city should cover all the municipal area, especially the peripheral and marginal ones, where there are often phenomena of physical and social degradation, with negative effects on the whole urban area, or also provincial or regional for the most extreme cases. For these reasons, we decided to study the possibility of including the new Multipurpose Cultural Centre in a degraded area of the city. After a careful analysis, the chosen area has been identified in the northeast suburbs of the city, on the edge of the industrial area (Figure 2). Its redevelopment would be strategic for because of the proximity to very interesting places such as the Parco della Murgia Materana, the Santuario Santa Maria della

Figure 2. Current condition of the project area ___________________________________________________________________________________________________________ G. Fallacara, M. Colella, M. Barberio: “Architecture and Didactics: A New Cultural Centre for Matera, European Capital of …”, pp. 28–36

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Figure 3. Panoramic view of Matera and its landscape

Figure 4. The section and the plan of the project

Palomba, the Chiese rupestri of Matera and the Parco Scultura La Palomba. However, the sustainability should concern all the aspects of planning, from financing to construction issues. Although the term sustainable is used extensively to indicate the technical requirements that provide information about energy-efficient buildings, it does not really give us any information about the indoor comfort nor the low impact of the building on the environment. Rather, sustainability should be interpreted as a general model for

approaching the design and construction of architecture. Thus, the concept of sustainability should also take account of the history of building techniques, the deep knowledge of the characteristics of the materials and the way they are used in architectural construction of a particular homogeneous area [8]. Following this perspective, the material used in the case study is the stone. The aim is to combine tradition and innovation in the designing of a complex roof made of load bearing cut-stone blocks reinforced with stainless

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steel cables and bands. Therefore, the use of stone to build big roofs typical of complex buildings, is considered by the authors perfectly sustainable and coherent in the Mediterranean area, where this material is abundantly available and the high temperatures of the summer require the use of structures with high thermal inertia. In addition, the use of stone allows a better visual integration into the landscape of Matera, where the entire historic centre, protected by UNESCO, consists of stone houses (Figure 3). The elliptical plan of the museum is divided into walls and partitions variously disposed on elliptical geometries, delimiting the various exhibition areas fluidly. Here there are all the functions of the museum, including the ticket office, a restaurant, a café, a garden in the inner courtyard and services. On top of these areas, on a wide low slope ramp the temporary exhibitions are arranged (Figure 4). The idea proposed results from the work of a group of architecture students who are expert in archaeology, after accurate researches on the current situation of the museums in the region. It consists of a mutable museum: the collections owned by the museum will not be permanent, but will borrow findings from other museums or from their warehouses for temporary exhibitions. Consequently, the temporary exhibitions will allow to show those items that otherwise would have been impossible to see, involving significant and interesting repercussions from the museological point of view. Therefore, the museum will be divided into three main areas: a temporary exhibition, described above; an area dedicated to the history of Basilicata from prehistory to the present day; an underground archaeological museum, with an extremely versatile construction but arranged according to precise

geographical and chronological criteria. The museum is located under a large and funnel-shaped elliptical shell, a tribute both to the large annular traditional vaults, and to expressive and large roof forms in the contemporary architecture, used for buildings that accommodate considerably complex spaces and functions (Figure 5). The updating of stereotomic stone vaults is a research line that the research group of the authors have studied for more than ten years [9]. In the past, stereotomy was regarded as the most appropriate in encouraging students to “build space” and stimulate creativity [10]. We wonder about the possibility of tying up again the broken thread of the research on stone–cutting construction following in the wake of the discontinued weave of the stereotomic culture, aiming at applying its innate creative momentum in contemporary architecture planning.

3.3. Topological vaulted space and parametric digital stereotomy The vaulted space has always represented the ideal domain in which to operate the more sophisticated and complex reflections on the construction of architecture. This is particularly true for the stereotomic architecture. The intrinsic quality of the vaulted architecture resides in the immediate ability to define measurable areas, which can serve as the endpoint for the indeterminacy of the outer space. The idea of "potential flexibility" and "manipulation" of the vaulted lithic space is at the basis of the method – described below - that is linking topology with stereotomy. The method arises from a very simple consideration, that is the observation that most of the vaulted systems can be imagined as a discontinuous structure or masonry wall that has been

Figure 5. Exterior and interior views ___________________________________________________________________________________________________________ G. Fallacara, M. Colella, M. Barberio: “Architecture and Didactics: A New Cultural Centre for Matera, European Capital of …”, pp. 28–36

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Figure 6. The natural vault near the Sanctuary

folded and/or deformed to obtain its geometrical final conformation, with the due simplifications and specifications [11]. By using some tools (i.e.: 3D Studio Max®) for the spatial transformation and the volumetric deformation of the shape, a correspondence between a flat surface and a spatial one is realized. In so doing, the final object is attained in an indirect way, and not directly through the canonical modelling that, in the case of complex objects, would involve major difficulties for the three-dimensional modelling.  At the beginning of the course, students have been encouraged to experience this new modelling technique. This exercise has been very important since students had to deal with different elements simultaneously: pre-figurative invariant, that is the subdivision capacity in appropriate sections of a vaulted system; technical/geometric invariant, that is the capacity of geometric, punctual definition of an architectural system and of ashlars and its realization (projective technique and cutting technique); static invariant, that is the capacity of providing static balance of the architectural system of drystone joint (graphic and mechanic static of rigid structures) [10, 11].

3.4. Acoustic shell The whole project involves the presence of an additional structure, detached from the rest of the museum, an open-air theatre, which allows to deal with a complex

issue such as the acoustic monitoring in an outdoor space. The purpose of the project is to develop the design focusing primarily on an architectural element, an acoustic shell that functions as a stage wing for performances and, at the same time, as a mechanism for reflecting and amplifying the sound, so that a very good quality sound would travel towards the audience. The acoustic shell is a double-curved stone shell creating a cantilevered fan-shaped structure. The shell is modelled through a topological deformation, starting from the flat configuration of the whole shell and deforming until it assumes the final configuration. The shell is divided by hexagonal elements consisting of six prismatic blocks, pre-compressed between them thanks to a metal band. A big natural stone vault located near the sanctuary, in proximity of the former quarry now Parco Scultura La Palomba, has inspired the curved profile of the shell (Figure 6). The hexagonal tiling was chosen because it is known that a hexagonal grid or honeycomb is the best way to divide a surface into regions of equal area with the least total perimeter (honeycomb conjecture), as the mathematician, Thomas C. Hales proved in 1999 [12]. Although the double curved surface chosen for the shell makes impossible the use of hexagons of the same size, this type of tessellation is still very useful, because it avoids triangular tessellation (which the hexagonal comes from), that is inadequate for stone constructions. A double steel cable system ensures the static stability.

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The static principle at the basis is that the equilibrium of a shell under construction is obtained by introducing external forces that prevent the collapse of the structure. If the shell is conceptually divided into two, in order for there to be equilibrium between the parts, it is necessary to supply a counter-weight to the suspended keystone, which is exactly in the middle of the structure that is still missing. This force can be supplied by introducing a ‘leash’ into the extrados that through a traction system, blocks the keystone in the semi-arch, guaranteeing the compression of the blocks [13]. The interaction between stone and metal, in the Mediterranean area and Europe, has several illustrious predecessors in many stone architecture of the past, such as, the jack arches of the Louvre colonnade, or the portico of Sainte-Geneviève or, more recently, with the researches of Peter Rice [14]. Viollet-le-Duc, in his work “Entretiens sur l’Architecture” (1858-72), introduced a prototype that can be considered the first example of a reinforced arch ever recorded, generated by the thrust equilibrium of stone and the resistance of steel. The primary author of the paper has carried out several prototypes based on the interaction between stone and steel, as intended by Viollet-le-Duc; between these Foglia and Lithic Tree (Figure 7). Foglia uses the technique of extradosal reinforcement; the prototype has been built in 2009 as part of a project about lithic shelters and, more generally, cantilevered roofs [13]. Lithic Tree, built in 2013, refers to a tree-like structure with a cantilevered lithic crown, made up of separated stone elements held together with a special steel reinforcement, favouring an optimal working

compression dinamic between the voussoirs [15]. In this particular case, however, since the shell has an anticlastic double curvature another cable system is necessary, in addition to the one of the extrados above mentioned. This system have to be arranged horizontally to the blocks that, by providing lateral compression action, to guarantee stability. In order to ensure the acoustic efficiency, circular wooden panels will be added to complete the shell structure. The panels will be made of diffusion material, whose convex shape improves the reflection of sound. These panels, fixed with articulated metallic structures, can be directed following infinite configurations, according to the acoustic requirements related to the type of show (Figure 8).

4. Conclusions This case study aimed at encouraging students to understand the potential and the limits of the tools they used according to the objective, in order to be able to choose the most appropriate tools for the development of their project. The multidisciplinary nature that characterizes the Design Courses creates the basis to deal simultaneously with several issues, from the composition to modelling, from geometry to construction technique, since they are all involved in architecture and design. In the light of the abovementioned considerations, it is believed that stereotomy can still have a strong educational value, due to its ability to hold together all these topics. Finally, it is argued that University should not only be the place

Figure 7. On the left: Foglia. On the right: Lithic Tree (projects by Giuseppe Fallacara) ___________________________________________________________________________________________________________ G. Fallacara, M. Colella, M. Barberio: “Architecture and Didactics: A New Cultural Centre for Matera, European Capital of …”, pp. 28–36

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Figure 8. A view of the acoustic shell during a show

where specific professionals are educated, but where students could especially learn the ability to critically thinking, develop new ideas and be able to search for the theoretical and practical tools to achieve their intended goals

References [1]

Kolb, David, Experiential Learning: experience as the source of Learning and Development, Prentice Hall, Englewood Cliffs, NJ, USA, 1984.

[2]

Dewey, John, Experience and Education. Kappa Delta Pi, New York, NY, USA, 1938.

[3]

Strauss, Valerie, The flip: Turning a classroom upside down / June 3, 2012 / The Washington Post, https://www.washingtonpost.com/local/educatio n/the-flip-turning-a-classroom-upsidedown/2012/06/03/gJQAYk55BV_story.html

[4]

Matera candidate city European Capital of Culture 2019, http://www.materabasilicata2019.it/it/archivi/documenti.html

[5]

MiBACT Basilicata / Accessed March 1, 2016, http://www.basilicata.beniculturali.it

[6]

Comune di Potenza / Accessed March 1, 2016, http://www.comune.potenza.it/index.php/eventi emanifestazioni/827museoarcheologiconazionale dellabasilicatadinuadamesteanu

[7] MIDEAB – Musei di interesse demoetnoantropologico in Basilicata / Accessed March 1, 2016, http://museidea.basilicata.it [8] D’Amato, Claudio, The sustainable weight of history. The contribution of digital technologies to the continuity and innovation on masonry architecture, in Australian Lectures, (D’Amato, Claudio, Petruccioli, Attilio), Gangemi Editore, Rome, Italy, 2013, pp. 61-104. [9] Colella, Micaela, Nuovi fondamenti dello spazio voltato lapideo, in New Fundamentals of Natural Architecture, (Fallacara, Giuseppe, Stigliano, Marco), Aracne Editrice, Rome, Italy, 2014, pp. 5055. [10] Fallacara, Giuseppe, Toward a Stereotomic Design: Experimental Constructions and Didactic Experiences. Proceedings of the Third International Congress on Construction History, (Kurrer, KarlEugen, Lorenz, Werner, Wetzk, Volker), Brandenburg University of Technology Cottbus, Germany, 2009, pp. 553-560. [11] Fallacara, Giuseppe, Digital Stereotomy and Topological Transformations. Proceedings of the Second International Congress on Construction History, (Dunkeld, Malcolm, Campbell, James, Louw, Hentie, Tutton, Michael, Addis, Bill, Thorne, Robert), Cambridge, UK, 2006, 1, 1075-1092. [12] Hales, Thomas C., The Honeycomb Conjecture, Discrete and Computational Geometry, 25, (2001), 1, pp. 1-22.

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[13] Fallacara, Giuseppe, Foglia, in Stereotomy. Stone architecture and new research, (Fallacara, Giuseppe), Presses des Ponts, Paris, France, 2012, pp. 132-139. [14] Brown, Andre, Stone and tension, Peter Rice (Engineer's Contribution to Contemporary

Architecture), (Brown, Andre), Thomas Telford Publishing, London, UK, 2001, pp. 145-157. [15] Fallacara, Giuseppe, Bagnéris, Marine, Calabria, Claudia, Digital Stereotomy and Topological Transformations. Second International Balkans Conference on Challenges of Civil Engineering, BCCCE, Epoka University, Tirana, Albania, 2013, pp. 667-675.

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DOI: 10.14621/tna.20160205

Impact of the Architecture and Environment Relation on Crime Rates: A Case Study from Turkey Nurdan Akiner*1), M. Ernur Akiner2) 1)

Akdeniz University, Faculty of Communications, Department of Radio, Television and Cinema 07058 Antalya, Turkey; nurdanakiner35@gmail.com, nurdanakiner@akdeniz.edu.tr 2) Akdeniz University, Vocational School of Technical Sciences 07058 Antalya, Turkey; ernurakiner@gmail.com, ernurakiner@akdeniz.edu.tr

Abstract

1. Introduction

There is a well known interdependence between the architecture and the environment. The most relevant effect on environment is the human activity such as urbanization. But in the new cultural environment era, violence is a complex scenario. Media violence causes “mean world syndrome” and relate to the amount of television exploitable in terms of crime and urban policy in the new cultural environment. Choice of vernacular architecture instead of dense apartment blocks allows the emergence of the traditional neighbourhood spirit. The relationship between the lack of vegetation and the steep crime rate is almost a neglected topic of research in urban and communication studies. We can get the best results with minimal cost as a way to benefit from this relationship. So the question then arises whether the crime rate in countries with a poor vegetation cover is usually higher than in countries with fertile vegetation? Another problem is to settle mass people into a limited area. The public housing policy is claimed to damage the psychology of the residences in a negative way due to a scarce nature around their settlement? There have been few studies about this issue, published in peer reviewed scientific literature. This study is aimed to be an important precedent for other studies whole over the world. Turkey has seven distinct geographic, climatic regions and a few cities where there is an industrial attraction that causes rapid population growth and housing shortages. In other words, there is a wide spatial difference in the vegetation cover. During this research, in order to neglect the factor of the immigrants, location of crime was taken into account for criminals. Effective assessment was conducted by applying statistical analysis to decide on the relation between the vegetation cover and crime rates of Turkey. Crimes were classified into three categories as felonies, misdemeanours and infractions. A felony crime is the most serious of criminal offenses. In terms of seriousness, the most frequent felony type of crime was picked up for the analysis. A city-wise analysis results clearly indicate that there is a significant relation between the vegetation cover and crime rates.

Environmental regulation is the most important part of urban planning. People should not be forced to live in different forms from nature. This situation may arise psychological problems in humans. Such as architecture, landscape and environmental regulations should also be considered as an important factor in city planning and be noticed. The purpose of this research, Istanbul in particular, to show the natural tissue lost due to urbanization. The aim was particularly to underline the negative effects of the irregular and vertical development in a densely populated area. Beyond that the goal was to determine the effect of forcing people to live apart from the nature such as pushing people into psychological collapse and disorder.

Keywords:

Crime rates; Media violence; Felony; Vegetation cover; Vernacular architecture

Article history:

Received: 18 April 2016 Revised: Accepted: 29 July 2016

Felony means a serious crime such as a murder or arson. It is the most serious of criminal offenses. Hence, in this study total number of the most frequent types of felony crime was picked up for the analysis regarding the seriousness of the results of the action. Selected research area is the districts of the Istanbul. Istanbul is the in Turkey, where almost the quarter of the country population is living. Hence, the research conducted in Istanbul reflects the whole country. Required felony crime data and the population statistics of the districts of Istanbul were gathered from government sources [1, 2]. Researches go deep inside the relation between the shape of the environment and the crime intention. Troy et al. [3] inspected this relation in their study in terms of the relationship between tree canopy and robbery, burglary, theft and shooting. Their statistical research was conducted in the Baltimore region of the United States of America (USA). The main motivation was to identify the relation between the tree density and the crime. Also they questioned the proper location of the tree canopy. They claim that the location of tree canopies, such as in public area or in non public area, affects the crime rates. According to their search [3],

___________________________________________________________________________________________________________ N. Akiner, M. E. Akiner: “Impact of the Architecture and Environment Relation on Crime Rates: A Case Study from Turkey”, pp. 37–44

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there is found a strong inverse relationship between the certain crime rates and the density of trees or tree canopy. They pointed out that planting trees on public lands would possibly yield somewhat higher crime reduction with respect to planting on non public area. Another related study was conducted by Wolfe and Mennis [4]. The research area was the Philadelphia region of the USA. They conducted a research regarding the crime rate that involves two distinct outcome of the vegetation cover. The question on their mind was to understand the possible security effects of the vegetation cover that can encourage or suppress the crime rate. Several studies in the literature define vegetation as a suitable site for the crime [5, 6, 7]. Especially, Nasar and Fisher [7] dealt with the violence that took place in wooded areas near the campus, which is a very typical problem for the universities. Having prejudges on vegetation based on this specific problem is incorrect. The effect must equally be felt in every area of society. Results of their study simply indicate that the absence of vegetation has a negative impact on the crime. Violent crimes are inversely proportional to vegetation [8, 9]. Vegetation increases the public surveillance; as a result crime is gradually reduced [10]. Vegetation is a key factor to prevent urban crime. Urban socio - vegetation relationship is also dependent on the socio-economic conditions and quality of life [11], hence when considering the environmental policy high priority should be given to suburban areas. Gilstad-Hayden et al. [12] conducted a research regarding the trees’ crime prevention potential in New Haven, in the USA state of Connecticut (CT). Results of this study support the findings from previous studies conducted in other cities in USA. These cities were Chicago, Portland, Baltimore, Philadelphia, and New York respectively [3, 4, 8, 13, 14]. According to GilstadHayden et al. [12]; tree canopy cover was inversely associated with crime, particularly violent crime, in New Haven, CT. It was observed that 10 % increase in tree canopy in New Haven, CT provided a 15 % decrease in violent crime and a 14 % reduction in property crime. Urbanization is a phenomenon that occurs with a combination of many factors, such as landscaping and gardening. If it is desired to prevent the rise of urban crime cases, it must be given absolute priority to reforestation [15]. Within their study, they have simply observed that there is a significant association between crime at the 150 m scale and the environmental design components of front yards and their surroundings. In addition to that, some other factors such as mean income of the residences, population density, and housing type are also important issues associated with the crime. Crime is also related to the success of the municipal landscaping services. According to Troy et al. [15], such as mass litters, dried grasses and uncut grasses due to the lack of municipal services, causes an emotional effect on crime. Trees enhance the strength

of social ties and communication between the neighbours [16]. Also, successful landscaping supplies more eyes on the street. More eyes on the street is also associated with the more control on the bad minded people and the suspicious events. According to Kuo and Sullivan [13], visibility preserving vegetation does not promote crime and in the contrary, it may even hinder crime in sub urban neighbourhoods. An inequitable distribution of income in today's society, economic crisis, encouraging effects of number of publications and broadcasts in media and internet [17], traditional structure with honour killings and offenses are apparent factors that are increasing the number of crimes committed every day. In this study different from all causes, a linear impact of environment crime cases is dealt with. Another factor influences crime rate is media. Perceptions of the world are heavily influenced by the images and ideological messages transmitted through media. That’s why there is a widening gap between perception of environment and reality. In the era of media convergence, a commercial media system thrives on violence, stereotypes, and the cultivation of anxiety. A number of studies have shown that heavy exposure to violent media causes greater sense of insecurity. George Gerbner conducted the longest running study of television violence. His seminal research suggests that heavy TV viewers tend to perceive the world in ways that are consistent with the images on TV. As viewers’ perceptions of the world come to conform with the depictions they see on TV, they become more passive, more anxious, and more fearful. Gerbner called this the “Mean World Syndrome”. Gerbner’s research found that those who watch greater amounts of television are more likely to (Gerbner, G. Violence and Terror in the Mass Media. Reports and Paper on Mass Communication [18]: — Overestimate their risk of being victimized by crime — Believe their neighbourhoods are unsafe — Believe “fear of crime is a very serious personal problem” — Assume the crime rate is increasing, even when it is not In addition, the media’s rapid analysis and assessment of crime causes stigmatization of districts of a city. Stigmatization reaches as far as locality, whereby the “inner-city” and city-perimeter settlements have become major targets for media reporting on crime. Danilo Yanich [19] pointed out that news media presents an “urban-suburban dimension of crime”, in which the city is deemed as dangerous. The “inner-city” has become a common label used in media reports on crime.

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Table 1: Population and felony crime statistics for districts of Istanbul (high crime and lower crime zones were marked in distinct colours). District

Population (2014) Area (km²) Density (per km²) Felony crime (2014)

Adalar

15,623

11.05

1413.85

Arnavutköy

236,222

506.46

466.42

Ataşehir

419,368

25.87

16210.59

Avcılar

425,228

42.59

9984.22

Bahçelievler

757,162

16.57

45694.75

Bakırköy

223,248

29.43

7585.73

Bayrampaşa

272,374

9.54

28550.73

Bağcılar

757,162

22.4

33801.88

Başakşehir

353,311

104.34

3386.15

Beykoz

249,727

310.36

804.64

Beylikdüzü

279,999

37.21

7524.83

Beyoğlu

242,250

8.96

27036.83

Beşiktaş

190,033

18.01

10551.53

Büyükçekmece

231,064

157.61

1466.05

Esenler

459,983

18.5

24863.95

Esenyurt

742,810

43.11

17230.57

Eyüp

375,409

228.14

1645.52

Fatih

419,345

15.93

26324.23

Gaziosmanpaşa

501,546

11.67

42977.38

Güngören

302,066

7.17

42129.15

Kadıköy

465,954

25.07

18586.12

Kartal

457,552

38.54

11872.13

Kağıthane

437,942

14.83

29530.82

Küçükçekmece

711,112

37.73

18847.39

Maltepe

487,337

53.06

9184.64

Pendik

681,736

179.11

3806.24

Sancaktepe

354,882

61.87

5735.93

Sarıyer

344,159

151.26

2275.28

Silivri

165,084

862.54

191.39

Sultanbeyli

321,730

28.86

11147.96

Sultangazi

521,524

36.26

14382.90

Tuzla

234,372

123.89

1891.77

Zeytinburnu

289,685

11.31

25613.17

Çatalca

67,329

1043.58

64.52

Çekmeköy

231,818

148.02

1566.13

Ümraniye

688,347

45.29

15198.65

Üsküdar

540,617

35.34

15297.59

Şile

33,477

779.11

42.97

Şişli

274,017

35.02

7824.59

Grand total

14,762,604

5,335.61

542,709

1,270

Media exposure to crime and crime-related events can be an effective crime prevention strategy, and useful tool for sensitizing and educating the public on underestimated or overlooked social problems.

2. Methodology The key methodology used in this research is to compare the satellite image of the Istanbul with the crime rates.

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Satellite image clearly shows the green areas. Beyond that the regression analysis was also applied to see if there is another factor such as the population or the density of the people has an impact on the crime rates. Also histograms were depicted in order to show the current crime rates in every districts of the Istanbul.

2.1. Using satellite images Population statistics and felony crime rates were tabulated for year 2014. There are 39 districts of Istanbul and some of them are safer to live compare to others. People do not seek for the reasons of this safety

but tend to move these safer districts to live nowadays. However this is not a proper way for the solution of the safety problem. Because problematic zones in terms of safety are usually old settlements, where most of the shopping malls, educational, industrial and other key units were located. Critical districts among the crime rates were categorized and highlighted on the Table 1. Districts of Istanbul and the satellite image that shows the green areas in Istanbul are shown in Figure 1. All green and barren areas are clearly seen from this satellite map. These barren areas are emerged as the result of the wrong city planning, bad architecture, faulty urbanization policies and the lack of the environmental sensitivity.

Figure 1. Districts of Istanbul and the vegetation cover ___________________________________________________________________________________________________________ N. Akiner, M. E. Akiner: “Impact of the Architecture and Environment Relation on Crime Rates: A Case Study from Turkey”, pp. 37–44

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50000.00 45000.00 40000.00 35000.00 30000.00 25000.00 20000.00 15000.00 10000.00 5000.00 Adalar Arnavutköy Ataşehir Avcılar Bahçelievler Bakırköy Bayrampaşa Bağcılar Başakşehir Beykoz Beylikdüzü Beyoğlu Beşiktaş Büyükçekmece Esenler Esenyurt Eyüp Fatih Gaziosmanpaşa Güngören Kadıköy Kartal Kağıthane Küçükçekmece Maltepe Pendik Sancaktepe Sarıyer Silivri Sultanbeyli Sultangazi Tuzla Zeytinburnu Çatalca Çekmeköy Ümraniye Üsküdar Şile Şişli

0.00

Figure 2. Population density distribution of the districts of Istanbul (population density versus district)

2.2. Histograms It shows the distribution of individual measurements taken from a part or process bar graph. It is also referred to frequency distribution as shown by the length of any given value of the frequency bar. It provides easy to observe the shape of the distribution of the measurements, variation (dispersion) and headquarters. Patterns in measurements are observed. It provides clues regarding the cause of the problem and the reduction of the variation. In this study histogram was used to show the distribution of the population density per km2 and felony crime rates of the each district of Istanbul (Figure 2).

2.3. Regression analysis Regression analysis is applied to put out the relationship between a dependent variable and a single or multiple independent variables as a mathematical equation. In this study the dependent variable is the felony crime rate and the independent variables are the population, density of the population of each district, and the area of the each district, respectively. The coefficient of determination (R2) indicates how much the dependent variable explained by the independent variables as a percentage. It is symbolized by R2. It gives a result between 0 and 1. Result closer to 1 means that there is a strong relationship between the independent and dependent variables.

3. Results and discussion Results from the regression analysis clearly show that there is no direct relation between the felony crime rate

and population statistics (see Figures 3 and 4). Also there is no impact of the district area on the felony crime rate as seen from the Figure 5. Felony crime densities in the districts of Istanbul were depicted on Istanbul map. While doing this colour indices were used as an indicator. Every district of Istanbul was painted according to the number of felony crimes occurred. For year 2014, number of felony crimes equal or over 30 was considered as the high rate. Similarly, number of felony crimes equal or lower than 10 was considered as the low rate. Number of felony crimes between these two values was considered as the moderate rate. Red colour stands for the high felony crime rates, yellow colour stands for the moderate crime rates, and blue colour stands for the low crime rates. Results clearly indicate that the crime density is higher mostly in areas with lower green areas. Conversely the lowest crime rate is existed in the areas with large wooded areas (See Figure 6). The media can play a democratic role about crime prevention and environment. Government and partners in crime prevention should work with media representatives in local crime prevention and safety strategies. Media literacy education also can help encourage and inform the ways future generations interact and make use of the media in crime prevention and urban safety efforts [20].

4. Conclusion There are many problems affect the crime rates. Technological developments in the media resulted in improved impact on society. Media is a great storyteller of our time. It has become the common symbolic environment that interacts with most of the things we

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Districts of Istanbul

y = 0.001x + 18.407 R² = 0.3298

Number of felony crime in 2014

80 70 60 50 40 30 20 10 0 0

5000

10000 15000 20000 25000 30000 35000 40000 45000 50000

Population density per km2

Figure 3. Statistical relation between the felony crime and the population density (Determination coefficient (R2) is 0.3289) 100

Districts of Istanbul

Number of felony crime in 2014

y = 6E-05x + 11.274 R² = 0.2264

80 70 60 50 40 30 20 10 0 0

100000

200000

300000

400000

500000

600000

700000

800000

think and do. The commercial media system has nothing to tell, but has a lot to sell. It seems clear that in a globalized world, public pressure from media-aware consumers, professional media watch groups, media agencies, government institutions, NGOs, etc. can force the media to be a responsible media sector. Because media coverage of crime can be inaccurate, biased and promote harmful policies on crime control. The media is actually very powerful because it can influence and shape the perception of the public. Excessive and rapid growth in population is the leading problem against the urbanization. Improper urbanization brings together many problems. The main problem that the people face on is the destruction of the environment. Another problem is the aesthetically weak urban architecture. Governors usually do not consider the adverse psychological effects of this reality. This study addressed this issue through Istanbul. Histogram reveals that the population density is not effective on the crime rate as seen from the Eyüp, Sarıyer and Pendik districts, where there are low population densities but very high felony crime rates. Also Regression analysis and determination coefficient values clearly points out that there is no direct correlation between the crime rates and the population statistics and the areas covered by the districts. Results of this study support the idea that the tree canopy or the wooded area density is inversely proportional to the felony crime rates. Governors should not implement development plans without considering the environmental sensitivity and aesthetical architecture. Urbanization and environmental protection must be considered in harmony.

Population of the district

Figure 4. Statistical relation between the felony crime and the population (Determination coefficient (R2) is 0.2264)

100

Districts of Istanbul

References [1] Turkish Statistical Institute (TURKSTAT), Crime Statistics of the districts of Istanbul, Ankara, Turkey, 2014, http://www.tuik.gov.tr/Start.do [Accessed in April 2016].

[2] Istanbul Police Department (IPD), Crime Statistics of the districts of Istanbul, Archive Data, 2014.

Number of felony crime in 2014

80 70 60

[3] Troy, A., Grove, J.M. and O’Neil-Dunne, J., The relationship between tree canopy and crime rates across an urban–rural gradient in the greater Baltimore region, Landscape and Urban Planning, 106, (2012), 3, pp. 262-270.

y = -0.0419x + 38.3 R² = 0.1969

50 40 30 20 10 0 0

200

400

600

800

1000

1200

Area of the district in km2

Figure 5. Statistical relation between the felony crime and the area of the district (Determination coefficient (R2) is 0.1969)

[4] Wolfe, M.K. and Mennis, J., Does vegetation encourage or suppress urban crime? Evidence from Philadelphia, PA, Landscape &Urban Planning, 108, (2012), pp. 112-122. [5] Hartig, T., Mang, M., and Evans, G.W., Restorative effects of natural environment experience, Environment and Behavior, 23, (1991), pp. 3–26.

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Figure 6. Felony crime densities in districts were depicted on Istanbul map using colour indices (red stands for high, yellow for moderate, and blue for low crime)

[6] Shaffer, G.S. and Anderson, L.M., Perceptions of the security and attractiveness of urban parking lots, Journal of Environmental Psychology, 5, (1985), 4, pp. 311-323. [7] Nasar, J.L., and Fisher, B.S., Hot spots of fear and crime: A multi-method investigation, Journal of Environmental Psychology, 13, (1993), pp. 187– 206. [8] Donovan, G.H., and Prestemon, J.P., The effect of trees on crime in Portland, Oregon, Environment and Behavior, 44, (2012), 1, pp. 3–30. [9] Branas, C.C., Cheney, R.A., MacDonald, J.M., Tam, V.W., Jackson, T.D. and Ten Have, T.R., A difference-in-differences analysis of health, safety, and greening vacant urban space, American Journal of Epidemiology, 174, (2011), 11, pp. 12961306. [10] Gorham, M.R., Waliczek, T.M., Snelgrove, A., and Zajicek, J.M., The impact of community gardens on numbers of property crimes in urban Houston, Hort- Technology, 19, (2009), 2, pp. 291–296. [11] Li, G., and Weng, Q., Measuring the quality of life in city of Indianapolis by integration and census data, International Journal of Remote Sensing, 2, (2007), 20, pp. 249–267. [12] Gilstad-Hayden, K., Wallace, L.R., Carroll-Scott, A., Meyer, S.R., Barbo, S., Murphy-Dunning, C. and Ickovics, J.R., Research note: Greater tree canopy

cover is associated with lower rates of both violent and property crime in New Haven, CT, Landscape and Urban Planning, 143, (2015), pp. 248-253. [13] Kuo, F.E., and Sullivan, W.C., Environment and crime in the inner city: Does vegetation reduce crime? Environment and Behavior, 33, (2001), 3, pp. 343–367. [14] Grove, J.M., Locke, D.H., and O’Neil-Dunne, J.P.M., An Ecology of Prestige in New York City: Examining the Relationships Among Population Density, Socio-economic Status Group Identity, and Residential Canopy Cover, Environmental Management, 54, (2014), 3, pp. 402–419. [15] Troy, A., Nunery, A. and Grove, J.M., The relationship between residential yard management and neighborhood crime: An analysis from Baltimore City and County, Landscape and Urban Planning, 147, (2016), pp.78-87. [16] Holtan, M.T., Dieterlen, S.L. and Sullivan, W.C., Social Life Under Cover Tree Canopy and Social Capital in Baltimore, Maryland, Environment and behavior, 47, (2015), 5, pp. 502-525. [17] Erjavec, K., Impact of the Media on Crime and Attitudes about Crime: A Qualitative Study, Journal of Criminal Investigation and Criminology / Ljubljana, 65, (2014), pp. 1.

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[18] Gerbner, G., Violence and Terror in the Mass Media (Reports and Papers on Mass Communication, No. 101), 1988, Paris: UNESCO. [19] Yanich, D., Location, Location, Location: Urban and Suburban Crime on Local TV News, Journal of Urban Affairs, 23, 2001, 3, pp. 221.

[20] Carli, V., Sagant, V., and Capobianco, L., The media, crime prevention and urban safety: A brief discussion on media influence and areas for further exploration,

International

Centre

for

the

Prevention of Crime, 2008.

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DOI: 10.14621/tna.20160206

Architectural Design of Schoolrooms while taking into Account the Requirements of Thermal Comfort Mária Budiaková Slovak University of Technology in Bratislava, Faculty of Architecture Nám. slobody 19, Bratislava, Slovakia; budiakova@fa.stuba.sk

Abstract

1. Introduction

The paper is oriented on architectural design of schoolrooms while taking into account the requirements of thermal comfort. Correct disposition solutions of schoolrooms will enable the provision of thermal comfort and also in the ventilation of schoolrooms. Correct and sufficient ventilation of schoolrooms is very important because students and pupils spend in the schoolrooms the majority of their time in school. In our schools the ventilation is incorrect and insufficient. The biggest problem is winter period when the ventilation is provided only by opening the doors to corridor. This way, there is insufficient intake of oxygen, which causes distractibility and feeling of tiredness of pupils. In current schoolrooms we can use only natural ventilation and thus the schoolrooms have to be ventilated using windows. Therefore this research was focused on the comparison and the analysis of different systems of natural ventilation in schoolrooms. The experimental measurements were carried out in schoolroom, where the parameters of thermal comfort were measured in the different systems of natural ventilation with device Almemo 2590 which was connected to computer. Gained values of air temperature, air velocity and index PMV are presented in graphs. On the base of analysis of measured values were evaluated the systems of natural ventilation for schoolrooms. Correct architectural solution of schoolroom corresponding to fulfil the thermal comfort with optimal system of natural ventilation was designed. In the future, the mechanical ventilation in schoolrooms can be assumed, therefore the recommendation on modern energy saving system of mechanical ventilation is in the end of this paper. Proposed architectural solution of schoolroom also suites for modern energy saving system of mechanical ventilation.

Architectural design of schoolrooms must also take into account the requirements of indoor climate. In terms of indoor climate, it is important to provide thermal comfort and sufficient ventilation in schoolrooms. Architectural design of schoolrooms must take into account, that also during ventilation in schoolrooms, the thermal comfort was provided. In old school buildings is very difficult rather impossible to provide thermal comfort and sufficient ventilation, what also relates to incorrect architectural design. The biggest problem is that during ventilation the thermal comfort in schoolrooms is not kept. Thus thermal discomfort in schoolrooms arises mainly during ventilation, what causes sickness of students and teachers. Therefore, new school buildings should have such architectural design that would enable provision of thermal comfort and sufficient ventilation of schoolrooms in high quality.

Keywords:

Architectural design; Disposition solutions; Thermal comfort; Natural ventilation

Article history:

Received: 18 April 2016 Revised: 19 July 2016 Accepted: 01 August 2016

In the schoolrooms, ventilation means the exchange of the air in room for the fresh outdoor air. In Slovakia, common schoolrooms are using only natural ventilation in which the air stream occurs as a consequence of equalization of pressure difference, which is caused by natural forces. Insufficient supply of oxygen, high concentration of CO2, excessive air humidity, various types of odors, toxic pollutants, aerosol and microbial pollutants threatens pupils when there is insufficient ventilation of schoolrooms. It can cause distractibility and feeling of tiredness, various skin diseases, respiratory diseases, emergence of allergies, emergence of oncological diseases and so on. Therefore, the sufficient ventilation of schoolrooms is very important because students and pupils spend in schoolrooms the majority of their time in school. The biggest problem is winter period when the ventilation is provided only by opening the doors to corridor. Provision of thermal comfort parameters in schoolrooms is very important, therefore sufficient ventilation cannot be at its expenses. Thermal comfort

___________________________________________________________________________________________________________ M. Budiaková: “Architectural Design of Schoolrooms while taking into Account the Requirements of Thermal Comfort”, pp. 45–52

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in schoolrooms is defined as the state of mind that expresses satisfaction with the surrounding environment. The fundamental quantities for evaluation of thermal comfort are internal air temperature, operative temperature, globe temperature, air relative humidity and air velocity [1]. Then thermal comfort is evaluated with index PMV (Predicted mean vote) and index PPD (Predicted percentage dissatisfied) [2], [3]. Incorrect ventilation and thermal discomfort in schoolrooms during ventilation contribute to high sickness rate of students mainly in winter [4]. Incorrect ventilation also increases energy intensity of schoolrooms, which causes the problem in the effort of achieving the zero energy buildings in the future [5]. In Slovak school buildings, the ventilation is incorrect and insufficient [6]. Architectural design of existing schoolrooms is such, that contributes to creation of thermal discomfort and it mostly does not allow sufficient ventilation. Therefore, this research was focused on providing thermal comfort and the analysis of different systems of natural ventilation in schoolrooms in relation to architectural design. There were carried out the experimental measurements in schoolroom, where the parameters of the thermal comfort were evaluated in different methods of natural ventilation using windows. It was pointed out on the principles of correct architectural design of schoolrooms in relation to methods of natural ventilation.

2. Analysis of architectural design of schoolrooms in relation to thermal comfort The research was focused on general schoolrooms, which are furnished with basic furniture, with tables and

Figure 1. Minimal distance 1 m between external wall and desks

chairs, taking into account the ergonomic requirements of students. The research was not focused on technical schoolrooms and laboratories. Architectonic correct arrangement of tables in schoolroom is very important from many points of views but also in terms of satisfying the parameters of thermal comfort. Tables might have typical two row arrangement, continuous arrangement, arrangement in the shape of U, possibly another arrangement. Architectonic correct arrangement of tables must ensure that the local thermal discomfort will not arise. Local thermal discomfort (the thermal dissatisfaction) can also be caused by unwanted cooling or heating of one particular part of the body [2]. The most common cause of local thermal discomfort is draught but local discomfort can also be caused by an abnormally high vertical temperature difference between head and ankles, by too warm or too cool floor, or by too high radiant temperature asymmetry. People are most sensitive to radiant asymmetry caused by a warm ceiling, a cool wall (windows, glazed facade), cool ceiling or by a warm wall. The major problem in schoolrooms is with cool windows, therefore their surface should be minimized just to provide daily lighting. In order to eliminate local thermal discomfort between external wall and desks, there must be met the minimal distance 1,00 m, as it is in Figure 1 [7]. Architectural incorrect arrangement of tables in schoolroom is in Figure 2 [8] and Figure 3 [9], where the local thermal discomfort arises. Schoolrooms in Slovakia are heated by convective heating elements. In schoolrooms must be fulfilled minimal value of operative temperature 20°C, which is related to thermal comfort.

Figure 2. Architectural incorrect typical two row arrangement of tables

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Figure 3. Architectural incorrect arrangement of tables in the shape of U

(a)

(b)

Figure 4. Architectural location of tables and door in schoolroom a – Incorrect position, b – Correct position

In relation to thermal comfort, the next important requirement in schoolrooms is the provision of air exchange 20 m – 30 m3/hour per student. This exchange of air in Slovakia is provided only with different systems of natural ventilation. The most used is natural ventilation with opening the window or opening the window and the door. For providing these systems of natural ventilation, door must be architectural designed in the correct position to tables and last window. Important is that there is sufficient air exchange during breaks. At the same time, it is important that in the zone between last window and door, where local thermal discomfort is arising because of high air velocity (feeling of draught), are not placed tables for students and for teacher. Therefore, door must be in the back part of

schoolroom, where there are no tables. In Figure 4 [9], [10] are tables and door in architectural incorrect position and correct position.

3. Research of thermal comfort in schoolroom in relation to architectural design Research of thermal comfort in schoolroom in relation to architectural design continued with measurements of natural ventilation systems. Experimental measurements were carried out in schoolroom - Figure 5, Figure 6 at the Budapest University of Technology and Economics, Faculty of Architecture in March 2015.

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3.1. Methodology of research Thermal comfort was researched by three ways of natural ventilation in schoolroom in comparison with the state after the ventilation: a. After the natural ventilation, closed windows and door – Figure 5;

The aim of measurements was to record the parameters of the thermal comfort: air temperature, air relative humidity, air velocity, globe temperature and index PMV in three types of natural ventilation. Measurements were carried out in schoolroom - Figure 5 in two height levels 1,10 m – Figure 9 and 1,65 m – Figure 7 in standpoints: A – Figure 6, Figure 8,

b. Ventilation method, opening the window I – Figure 8;

B – Figure 6, C – Figure 6, Figure 9,

c. Ventilation method, opening the window II – Figure 9; d. Ventilation method, opening the windows I and II and the door – Figure 7.

D – Figure 6, Figure 7. Opening part of the window has dimensions 700 x 1400 mm.

Figure 5. Schoolroom after the natural ventilation a.

Figure 6. Schoolroom with standpoints

Figure 7. Ventilation method d. in schoolroom, standpoint D, level 1,65 m ___________________________________________________________________________________________________________ M. Budiaková: “Architectural Design of Schoolrooms while taking into Account the Requirements of Thermal Comfort”, pp. 45–52

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Figure 8. Ventilation method b. in schoolroom standpoint A

Figure 9. Ventilation method c. in schoolroom standpoint C, level 1,10 m

The parameters of thermal comfort were recorded with device Almemo 2590 which was connected to computer. Input data in measurements were: metabolic rate 1,0 met, clothing insulate 1,0 clo. Measurements were done in two height levels, which enabled the change of tripod (measurements were not carried out in height level 0,10 m, since the tripod was not capable of it) on which temperature and humidity sensor, globe thermometer and turbulence sensor were attached. Twenty measurements with time delay (one by one) were carried out in each standpoint and in each height level. Statistical mean was calculated from measured values. Measurements were carried out one by one in individual standpoints and in individual height levels. Schoolroom was heated by two convective heating elements located under the windows.

Ventilation of type b. and c. – opening of one window did not provide sufficient air exchange in the course of five minutes (duration of break between lessons). Ventilation of type d. – opening of both windows and door provided sufficient air exchange in the schoolroom during break. It was found out on the basis of questionnaire survey with students, which used this schoolroom.

Outdoor air temperature was measured and recorded by separate device. Outdoor air temperature increased during the measurement from value 14 °C to value 19,8 °C. During the measurement the sunlight was at first intensive on the window I and later on the window II. Measurements could be carried out only without the students in the schoolroom because of spatial capabilities. Therefore, it did not make sense to scientifically investigate other parameters of air quality in individual types of natural ventilation.

3.2. Analysis and results of research The values of air temperature are figured by individual types of natural ventilation, in standpoints A, B, C, D in the height level 1,1 m in Figure 10 and in height 1,65 m in Figure 11. The values of air velocity are figured by individual types of natural ventilation, in standpoints A, B, C, D in the height level 1,1 m in Figure 12 and in the height 1,65 m in Figure 13. The values of index PMV (Predicted mean vote) are figured by individual types of natural ventilation, in standpoints A, B, C, D in the height level 1,1 m in Figure 14 and in the height 1,65 m in Figure 15.

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Figure 10. Values of air temperature in the height level 1,10 m

Figure 11. Values of air temperature in the height level 1,65 m

Figure 12. Values of air velocity in the height level 1,10 m

Figure 13. Values of air velocity in the height level 1,65 m

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Figure 14. Values of index PMV in the height level 1,10 m

Figure 15. Values of index PMV in the height level 1,65 m

3.3. Discussion Air temperature in schoolroom in measurement a. was even in individual standpoints and in two height levels. In measurements b., the lowest air temperature was in standpoint A, which was caused by the opened window I and the highest air temperature was in standpoint D. In measurements c., there was intensive sunlight on the window II, which caused the highest air temperature in standpoint C regardless of opened window II. In measurements d., the sunlight on window II was so intensive, that despite of opened windows and door the air temperature was noticeably high in standpoint C. The differences of air temperature in the two height levels were adequate to convective heating. Air velocity in the schoolroom in measurements a. was even and suitable in individual standpoints, in the height level 1, 65 m was slightly higher, which was caused by convective air stream. In measurements b., the air velocity increased to unbearable value in standpoint A in the height 1,1 m, which was caused by opening the window I. In measurements c., the air velocity increased noticeably to unbearable value in standpoint C in the height 1,1 m, which was caused by opening the window II. In measurements d., the air velocity increased noticeably to unbearable value in all standpoints and in the both height levels. It was proved that the student

cannot sit when the window is opened and it is impossible to sit nor stand in schoolroom when both of the windows and door are opened. Index PMV in the schoolroom in measurements a. was optimal in individual standpoints and in the two height levels. In measurements b., the index PMV reached the inadmissible value ([2], [11]) in standpoint A in the height 1,1 m, which was caused by opening the window I. In measurements c., the index PMV had admissible values in standpoint C in the both heights, which was caused by opening the window II, the inadmissible values did not emerge as a consequence of intensive sunlight. In measurement d., the index PMV had inadmissible values in standpoint C and B, it did not reach the optimal value in other standpoints. Experimental measurements showed, that in efficient natural ventilation in schoolroom - opening the windows and the door in the zone between windows and door, where local thermal discomfort arise because of high air velocity (feeling of draught), cannot be placed tables for students and for teacher. Therefore, door must have architectural correct position - Fig. 7. It means that door must be in the back part of schoolroom and between the last window and door cannot be placed tables for students.

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4. Conclusions

Acknowledgements

Architectural design of schoolrooms must also take into account requirements for thermal comfort and ventilation. Important is that the architectural design of schoolrooms will allow to provide the thermal comfort also during ventilation. In Slovakia, the common schoolrooms use only natural ventilation. Existing schoolrooms have such architectural design that does not create conditions for sufficient natural ventilation. Moreover the insufficient architectural design contributes to creation of local thermal discomfort.

Paper is published with the support of grant agency KEGA, grant n. 039STU-4/2014.

Experimental measurements confirmed that none of the investigated methods of natural ventilation is appropriate for schoolroom in terms of thermal comfort. In case of measuring in lower outdoor air temperature, the results would noticeably confirm the inaptitude of natural ventilation in connection to thermal comfort. Ventilation of type d. – opening of both windows and door provides sufficient exchange of air in schoolroom, but the thermal comfort is markedly violated and thus the students cannot be in the schoolroom during the ventilation in each break after one teaching hour, what is unreal. In new schoolrooms with natural ventilation, the correct architectural design is inevitable, which should include also the correct position of tables for students and teacher, correct position of door towards windows and tables. Such architectural design might contribute to thermal comfort also during ventilation of schoolroom. The most appropriate solution for new schoolrooms is controlled forced ventilation with heat recovery system. Investment expenses for this forced ventilation system are higher, but the sufficient air exchange is achieved, the thermal comfort and energy saving is provided. In such modern system of forced ventilation, the influence of architectural design would be significantly smaller.

References [1] Bánhidi L., Kajtár L., Komfortelmélet, Comfort Theory, Muegyetemi kiadó, Budapest, Hungary, 2000, p. 436. [2] Standard STN EN ISO 7730 Ergonomics of the thermal environment - Analytical determination and interpretation of thermal comfort using calculation of the PMV and PPD indices and local thermal comfort criteria. [3] Standard STN EN ISO 7726 Ergonomics of the thermal environment. Instruments for measuring physical quantities. [4] Etheridge D., Natural Ventilation of Buildings, John Wiley & Sons, United Kingdom, 2011, p. 454. [5] Voss K., Musall E., Net Zero Energy Buildings, EnOB, München, 2012, p.192. [6] Kožuchová, M.: Elektronická učebnica didaktika technickej výchovy, Electronic Textbook-Didactic of Technical Education, Online, Univerzita Komenského, Bratislava, 2011. [7] http://www.lencos.sk/img/page/skolsky_nabytok /skolsky/002.jpg [8] http://proeling.sk/blog/31-ozvucenie-skoly [9] http://www.mydva.sk/jazykove-ucebne.html [10] http://www.zsmoravtn.edu.sk/galeria/skola/skola .htm [11] Standard STN EN 15251 Indoor environmental input parameters for design and assessment of energy performance of buildings addressing indoor air quality, thermal environment, lighting and acoustics.

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DOI: 10.14621/tna.20160207

Parametric Design and Fabrication Strategies by Practice Milena Stavric*, Albert Wiltsche, Elmar Hess Graz University of Technology, Institute of Architecture and Media Kronesgasse 5, 8010 Graz, Austria

Abstract

1. Introduction

The rapid development of parametrical tools for architectural design has implicated a big challenge for contemporary architectural education. In the last years many universities have been introducing digital design and fabrication in there syllabus to provide and teach a broader understanding of parametrical design. In order to make virtual parametrical models also buildable for architectural usage a huge amount of knowledge and skills are needed, which induces a big task for teachers and a big challenge for students. Mathematics and geometry play again an important role in order to understand these new tools. This paper presents our teaching approach to the design process through parametrical modelling to realisation in scale 1:1 strongly based on geometry and mathematics. With the design project “Wooden sleeper”, which is made from solid wood, we will present our teaching line. The core of this is the geometrical understanding of the different relations between the involved objects and its translation into a geometrical and mathematical language in terms of computer algorithms, including the mathematical transformation of building materials behaviour.

For many years wood was treated as material for traditional and temporary architecture. Due to the development of digital tools for CAD programming and CNC fabrication the tendency for experimentation with wood has been growing intensively for the last ten years. Additionally, wood is an economical and natural substance which is very popular for experimentation and can be easily machined. Furthermore, the interest and courage to build extraordinary and novel architecture and constructions made of wood is increasing [1], [2]. Confidence and trust in wooden architecture is coming back, although governments are sometimes very frightened to accept and allow novel approaches.

Keywords:

Parametric design; Generative algorithms; Computational design; Digital fabrication; CNC technology

Article history:

Received: 25 April 2016 Revised: Accepted: 01 August 2016

The tendency for experimentation is currently strong promoted by the schools of architecture in terms of small architectural structures or temporary art projects (Figure 1 and [3]). In such projects, wood is used as a linear element, selfsupporting, or as fill material. Manifold possibilities result from using different types of wood, different structures, like solid wood, laminated wood or bended wood. Wood processing ranges from manual workmanship to the use of all kind of CNC machines. Centuries-old knowledge on wood processing can be now adapted and brought to new prospects given by the digital age. The age of digital fabrication of wooden elements and the process automation from design to fabrication has brought two significant changes in architecture. On the one hand, an unprecedented precision and level of detail in the machining of wood elements arose by the use of CNC machines. On the other hand, a formal freedom in the design of linear and curved surface elements emerged. A very significant contribution to the formal freedom of the design is due to the use of computer programming and algorithms already in the design stage. In addition to the use of CAD programs for 3D modelling and visualization of architectural objects, algorithmic software supports the

___________________________________________________________________________________________________________ M. Stavric, A. Wiltsche, E. Hees: “Parametric Design and Fabrication Strategies by Practice”, pp. 53–59

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Figure 1. Experimental wooden architecture

Figure 2. Some of the students’ competition projects

Figure 3. Scale models of the winner project “Wooden Sleeper” ___________________________________________________________________________________________________________ M. Stavric, A. Wiltsche, E. Hees: “Parametric Design and Fabrication Strategies by Practice”, pp. 53–59

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approach of the individual architect and broadens the perspective. Depending on the skills and the capability of the architect, these algorithms can be implemented in the architectural design at different levels - from conceptual design to the optimization of the form with respect to static behaviour up to the details of individual architectural elements. The use of algorithms and parametric design is very important in our approach and algorithms, from the initial design, to model making and eventually to the real scale production, support many processes in the project descripted in this paper [4]. What makes our project unique is the parametric connection between the architectural design and the static behaviour of the form. Both affect each other.

2. Teaching, design and research The course “Design of specialized topics” hold in the summer semester 2015 featured the so-called project “Wooden canopy”. The task for the students was the conception design for the future use of Park Lackenbach and a design of a canopy for the entrance of a rail-cycle draisine station into the park. Park Lackenbach and castle Lackenbach are located in the eastern part of Austria. Since the main goal of this course was to develop one project from the design stage to the realisation, all students were very motivated to be part of it. The challenging task was that the whole project should be developed in a short time (one semester) and be assembled by the students themselves. In order to

achieve this aim it was necessary to use all possible digital tools for the design and the fabrication process. In the first stage we made a competition and all students made their individual designs (Figure 2). A jury chose one design, based on different criteria such as visual identity, feasibility, costs, realisation, etc. In the second stage the winner project called “Wooden sleeper” (Figure 3) was developed further by all students. In the third stage they assembled and built the project all together in scale 1:1 guided by qualified persons. At the end of the semester, all competition projects were exhibited for three months in castle Lackenbach next to the site of the winner project open to public view. Important for our teaching approach was the fact that after jury’s decision the students should work together as a team and collaborate in one project. All work was divided into several parts handled by small students’ groups, including detailed planning, 3D modelling, cooperate design, model making, etc. In the following paragraphs we will give a detailed description of this work and the winner project.

3. Geometry The geometrical shape of the “Wooden Sleeper” consist of three conoidal surfaces [5]. The surface c1 is on the left side, c2 on the right side and c3 acts in between as the canopy (Figure 4). A conoidal surface is a ruled surface whose rulings are parallel to a director plane.

Figure 4. Three conoidal surfaces c1, c2 and c3 with rulings parallel to a director plane and the bottom curves b1, b2 and the top curves t1, t2 as generatix curves for c1, c2 and c3 ___________________________________________________________________________________________________________ M. Stavric, A. Wiltsche, E. Hees: “Parametric Design and Fabrication Strategies by Practice”, pp. 53–59

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Figure 5. The statical system of the framed structure

For the further definition of the conoidal surfaces we have four curves, the bottom curves b1 and b2 and the curves t1 and t2 at the top of the building, between the canopy part and the side parts.

system is defined as a three sided frame (Figure 5). The whole structure consists of twenty one different frames. All frames have the same topology but all bars are different in length with different angles in between.

In the real project we had to discretise the conoidal shapes, and so the rulings were represented by wooden bars.

The goal of our statical system was to minimize bending moments in supports by proper positioning the bars in each frames accordingly. To achieve that the resulting forces representing the vector P/2, F (support forces) need to meet in one point M (Figure 5). This special situation results in zero bending moments in support.

4. Static behaviour With the geometrical rules of a conoidal surface it is possible to design a wide range of structures. The challenging task in our approach was to choose an optimum shape solution based on statical conditions and constraints. One of the main characteristics of our project is that we included statical calculations at the early stage of the design. We programmed an interactive statical calculation that provided an optimal geometrical solution for the shape of our structure. The basic statical

For the calculations the support points 0 and 3, the bar S1 and the direction of S2 were given. The bar S2 was then defined through the calculations shown on Figure 5 right. In order to stabilize the frames in the direction perpendicular to each other we used threaded bars along the lines L1, L2, L3 (Figures 4 and 6B). Since the lines L1, L2, L3 can be seen also as generatrices for the conoidal surfaces c1, c2, c3 they are also called conoids.

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5. Parametric modelling In order to have an optimal way of freedom we pushed the students to establish a parametric model of the project. Therefor we used the CAD program Rhino and its plugin Grasshopper. In a first step, we setup the main geometry. This included the geometry of the bars and their connectors and joints, whereat every part is different. After this, we incorporated the static model into the geometric one. Every change in the static calculations influenced directly the geometry and vice versa. With this model we optimized the static behaviour and the forces. To link the beams to the concrete fundament we modelled steel connectors. With the parametric model we defined the positions of all connectors and the whole 3D geometry of the bars. The 3D data of the bars could be directly sent as an output of the model to the Hundegger-CNC-machine for fabrication without any further change. For welding the steel connectors (Figure 6C), which was done manually and very challenging, we exported blueprints from the parametric model for the welder.

6. Assembly The assembly was done by the students themselves supported by some experts (Figure 7). All of them, including the women, got an introduction in handling

the tools we used. This was a very interesting experience for everybody, especially the use of the angle grinder. For almost everybody the assembly of this structure was the very first manually work they have ever done in this size. The final project can be seen in Figure 8.

7. Conclusion The realisation of a real project is very rare and challenging for bachelor students of architecture and their teachers. Fortunately, the students at our university had this possibility, and they were very grateful for this experience. The project named “Wooden Sleeper” was designed in SS2015 with parametrical tools, fabricated by a 5-axes CNC cutting machine and built as a canopy and entrance for Park Lackenbach in Austria. The main objective of the “Wooden sleeper” project was to include structural behaviour and material properties already in the parametrical mathematical model. For this project a deep understanding of the structural system and the geometrical properties was the challenge for the students. The second objective was to connect geometrical properties with the building materials and fabricate a wooden structure in scale 1:1. For this project, all building parts were parametrically designed and a direct file export for the CNC machine was provided.

Figure 6. Views and details generated by the parametric model ___________________________________________________________________________________________________________ M. Stavric, A. Wiltsche, E. Hees: “Parametric Design and Fabrication Strategies by Practice”, pp. 53–59

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Figure 7. Students assemble the “Wooden Sleeper”

Figure 8. The final realized project: “Wooden Sleeper”

Acknowledgements The experience “from design to production” that student got in this course showed us that this kind of teaching is very motivating and supports new competences for the future generation of architects. Due to the very professional work of the whole team we have got the opportunity to continue the cooperation with Park Lackenbach and to plan a new project for the upcoming year. The authors gratefully acknowledge the work done by our students of Graz University of Technology:

Bachleitner Stefanie, Baumgartner Armin, Brandl Claudia, Cölestin Carina, Hinterbrandner Angelika, Hurth Victoria, Jäger Ana, Karner Armin, Mateev Maykal, Nenadic Alexandra, Nuic Anela, Pelzmann Martin, Schmölzer Ferdinand, Stepan Simone, Velic Anita and Walchhofer Eva. Our gratitude goes also to our assistant Markus Bartaky for his efforts done for the success of this project. We are very grateful for the great cooperation with Esterhazy, special with Michael Manak from Park Lackenbach for his enthusiasm during the realisation of our project.

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References [1] Jelska, S. and Pascha, K. S., Emergent Timber technologies, Birkhäuser, Basel, Switzerland, 2015. [2] Lennartz M. and Jacob-Freitag S., New Architecture in Wood, Forms and Structures, Birkhäuser, Basel, Switzerland, 2016. [3] Manahl, M., Stavric, M. and Wiltsche, A., Ornamental Discretisation of Freeform Surfaces, IJAC, 10, (2012), 4, pp. 595 – 612.

[4] Stavric, M. and Wiltsche, A., Rückkehr zur Geometrie in der Zeit des digitalen Architekturentwurfes, Über Form und Struktur Geometrie in Gestaltungsprozessen (Cornelie Leopold), Springer, 2014, pp. 145 – 156. [5] Pottmann, H., Asperl, A., Hofer, M. and Kilian, A., Architectural Geometry, Bentley Institute Press, Exton, Pennsylvania, 2007.

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DOI: 10.14621/tna.20160208

Physical and Perceptual Boundaries over the Body in Interactive Surfaces Gülhis Duygun*, Senem Müştak Kocaeli University, Faculty of Architecture and Design, Department of Architecture 41100 Kocaeli, Turkey; gulhisduygun@gmail.com

Abstract

1. Introduction

Body encounters the existing world since it was born. Every action becomes the very basis of its next step. It transforms its own experiences into information. It not only constitutes its own products but also benefits from traditionally constructed outer environment. Within this comprehension process, it also intervenes to its own space. At this point, the space which is produced by the body is seen as the result of interaction and motion. Existence of environmental conditions or desires of body determine the limits of spaces and creates the structural complexity. The gaining from the process of this realization is reflected to the whole space. Thus, spatial limits are composed as the results of this experience. From this point, body is under the influence of daily life (personal, physical, etc.). Duration spent in the spaces of daily life shape the experiences and creates spatial data through intellectual activity. As the result of the repetition in this organization of space, body couldn’t determine the limits and it faces the existing limits. This is not identified as an experience. Interactive surfaces have perceptual, interdisciplinary existence but in spatial aspect, it has physical existence too. Between the range of space and perception, as an experience style body, even though being in physical space, interactive surfaces can carry the perceptual boundaries to different scales. In this way, experience is variable and it exceeds the spatial perception.

Life practices which have changed by the second half of 20th century produced new experiences as well. Fast moving technology, especially computer and digital communication devices’ affecting daily life directly is the reason. This interaction offers a new perspective to the experience of dynamism between the body and the space. A different process from previous fractions of tools and production practices which is created by Body/Space relationship has been gone through.

Keywords:

Article history:

Spatial experience; Body-space relation; Spatial boundaries; Interactive structures; Public space Received: 25 April 2016 Revised: Accepted: 01 August 2016

The most important reason of that is concept of virtuality’s being add as a layer to the physical reality. Even though virtuality isn’t a new concept, virtual platforms are changing the daily life practices via digital technologies presented. This also forwards the space. While the body is tied to somewhere in its physical existence, it can be anywhere virtually. Yet another dimension for this relationship is the state of virtual reality’s meeting a physical existence, a body. It is critical when body as an organic existence meets and communicates with an inorganic existence adorned with virtuality layers. It is inevitable for this situation to create new experiences. Especially the speed of technology during the 21st century presents empirical data to new life practices. Knowledge is not stable. Notice’s purpose at this point is to argue how this new experience may reflect on body/space practices and what kind of a change in terms of cognitive and structural this reflection may cause. To understand this experience range, second chapter is reserved for the relationship of body and space. The subject of the third chapter aims to examine virtuality concept’s being added via technology tools to the relationship of body and space. In chapter four, the example named “Hypo surface” is chosen as a reflection of all these relationships to the practice in the field of architecture. In the example, body experiences a new meeting describing the space and displaying a new behaviour but him. It’s inevitable to

___________________________________________________________________________________________________________ G. Duygun, S. Müştak: “Physical and Perceptual Boundaries over the Body in Interactive Surfaces”, pp. 60–66

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affect the processes of designing and experiencing. Via this example, the experiences presented by the dynamism between body, space and virtuality will be discussed. Trying to understand what it includes or not to the relationship between body and space is the purpose of this notification.

2. Body and space Contact of the body with the existence except for itself makes its physical and psychological quality dynamic. This dynamic is basically related with movement and time. When the body moves physically or mentally, sense and memory are triggered. It starts to contact with other things. These contact types determines the actual attitude and intellectual attitude. In the 21st century, one of the important effects of this dynamic is technological developments. The concept of this aged called as an Informatics Age. Technological devices are directive and effective. This affects a lot of discipline in many ways. Industrial Revolution can be defined as a start of modern technology. Scientific data reached through movement in The Movement Image book is explained by Deleuze as the following [5]; “The modern scientific revolution has consisted in relating movement no to privileged instants, but to anyinstant-whatever. Although movement was still recomposed, it was no longer recomposed from formal transcendental elements (poses), but from immanent material elements (sections). Instead of producing an intelligible synthesis of movement, a sensible analysis was derived from it. In this way, modern astronomy was formed by determining a relation between an orbit and the time needed to traverse it (Kepler); modern physics, by linking the space covered to the time taken by a body to fall (Galileo); modern geometry by working out the equation of a flat curve, that is, the position of a point on a moving straight line at any moment in its course (Descartes); and lastly differential and integral calculus, once they had the idea of examining sections which could be brought infinitely closer together (Newton and Leibniz). In all areas, the mechanical succession of instants replaced the dialectical order of poses: Modern science must be defined pre-eminently by its aspiration to take time as an independent variable.” According to this, it is seen that the body contacting with the factors except for it produces its own attitude with different experiences. It’s critical to make match between the body and the space and also existence of the body physically in that space. In addition to its existence, the body also is trying to understand the space and producing a mental activity. In the space, especially volume between limiting factors like surface is seemed like emptiness. However meaningful the

dimensional contacts in the space are made in this emptiness [3]. Rudolf Arnheim’s approach to the emptiness concept in the area is as the following; “The effect of emptiness occurs when the surrounding shapes e.g. the contours, do not impose a structural organization upon the surface in question. The observer’s glance finds itself in the same space wherever it tries to another, one space being like the next; it feels lack of spatial coordinates, of a framework for determining distances. An object can be undefined due to it’s own space” [1]. Merleau-Ponty explains the perceptive relation made with dimensions with lamp example in his “The World of Perception” [13]. As an observer, what the body sees when looking through lamb is actually reference of the situations. What kind of perception will be got at the back of the lamp is based on a guess. Triggering is done by the previous images in the memory. The possibilities about the what is the image of the background will be on. To reach certainty will be done by going to a space in which that you can see the background [13]. In this point, perception will be still less because when the background is seen then the front side will be unseen. The body perceives the space with some certain perceptions. However its dynamism will need time to perceive its space, about perception thesis Bergson says; “We perceive the things as they are. Sense makes us meet with the material directly, it’s not personal, it overlaps with the perceived material. With the help of the emptiness between action and reaction made by brain, perceiver existence success to take only the part that interests it. While material identifies itself with and pure virtuality, our reality perception is overlaps with the part that is not our concern” [4]. The matches which will occur in the space are related with the time passed to gain a seat in the memory. Except for the concrete relation between time and space, abstract qualities are the most important connective between memory physics and space. The memory away from the control of the reality is on more slippery space than perception. The virtual information gained in the past does not only help for to realize the nature of the act or object, but it also helps to gain a seat of the available material in the system creating our world-view [2]. Hence, the comparison between body and space is limited by memory and perception. It identifies and codes it with the gained data. It gives meanings in structural way. (Door, Window, Wall, Eaves etc.) What makes difference while having relation with them are light and tissue etc. Likewise having a relation with the other things except for itself is based on interaction and movement. Constant point position is completed with the other data in the memory. And this does not create a new experience.

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“Until now, a very serious data bank of architecture has been created. A consideration life has been created with the same seriousness, richness and valuableness. Architecture is saving consisting emotional qualities of area having the least produced information and the most developed also least talked branch. Up to now, these savings created different discussion area and they tried to not involve to each other. In fact, what has to be done is to look a situation from all sides and responsibilities. Norms of the architecture are the substructure of the emotional and logical saving which can bring all savings together” [16].

space, existential space, Cartesian space and abstract space.

When we look at the traditional and space practice up to now, architectural items are identified, stable and it has movements in the meaning of virtual effects. From Plato’s cave allegory to the invention of the perception an interaction can be defined based on movement. Even after the development of building materials are ready to supply height and transparency, space dynamic will be shaped over the possible results of interaction and design. In that point, subject is the body. The moment when the space gets rids of its stability; the experience becomes plural but spook. Spuybroek explains on the architectural idea in which the body is a subject;

In the dictionaries “Virtuality”, is described as “the thing which is not in the reality and designed in the mind, fictitious, imaginary, and estimated” [11]. In that meaning is virtual space a fact which is not real and imaginary? The acts which are done in virtual spaces are the real acts which are done in the person’s brain. Merleau Ponty [13] explains body and space’s existence and reality contexts with these words;

“This architecture reifies the undetermined, decided not by giving them name by connecting by joints. It shapes the unshaped and unconstrained and it finds the structure of experience which is especially not defined before. It maps some liquid the potentials with high constructive. It constructs these potentials by coordinating and never comes back from the same way. Now, experience and geometry is in the material. With this cognitive perception, combining the act, perception and structural area becomes possible” [15]. At this point, the space becomes a “thing” that defines the limits of the space and recalcitrates to the body. According to Lefebvre, the space is neither a subject nor an object. According to this idea, the space is the construction of the relation between things [12]. While matching the body with the other things except for itself, the important things are action and reaction. Through this match’s result communication and relation type is shaped.

3. Virtuality and space While technology changes the daily living practices, the relation between the environment and us change in the same percentage. This situation brings new dimension to the habitual basic definitions. The space one of the basic definitions got new meaning and started to have new definitions. While mentioning about the existence of concrete space, it gets diversified as virtual space, perceptional space, logical space, public space, personal

Especially from the second half of the 20th century, with the help of development of the technology, virtuality has had a larger usage area. Virtual museums, virtual dwellings, virtual bodies, virtual chat rooms and virtual architecture definitions are the definitions which are invented in the era and topics of a lot of conversations. After the technology got a life in the digital spaces, the space definition showed that it can be an abstract. Virtual space is one of the concepts that digital technology made actual.

“A homogenous extension thought lying in front of the bodiless mind replaced with a heterogeneous extension which has special direction and having a relation with our situation for us like we are thrown to the world with the specialties of our body. Human is not a soul or a body it is a soul with a body. We can reach truthful because our body is fixed with the things. It is not only for extension, we can reach everything through our body; every existence out of us is getting a combine with soul and body with human specialties.” In this meaning, the experiences in the virtual worlds are real experiences. The thing directing our body is recognized with mind and happens in mind. In virtual space, there is a mentation instead of physical movement. Also, in the virtual space physical body does not create the space, mental space is created. Virtual space creates its own time flow and space meaning. In the real time flow, the virtual space empiricist is also his/her own creator. Even if the reality and virtuality look like they are against each other, they have possibilities to turn into each other. Deleuze [6] explains between those two like this; “Every reality is covered itself with virtual image cloud. This cloud is happened over the virtual images and turned around term series which can be narrow or large. Virtual ones show distinctness with their close degree to the reality. They are called as virtual because they are absorbed, spreaded, become or disappeared in the shortest time than ever imagined.” In that way virtual space has virtuality and reality at the same time. Actually our existence is real when we have relation with virtual spaces and this existence experiences us real things. Artificial Intelligence

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products turn architecture’s physical areas to cognitive areas and this turns physical spaces to virtual spaces [14]. This change in the production practice is caused artificial intelligence technology products as much as possible.

4. Impartial interaction: Hypo surfaces 21st century’s space production is not only created over architecture but also it is created in an interdisciplinary platform such as IT and material engineering. This creates a plural relationship instead of an absolute one between body and space. Virtual platforms do not produce a physical environment. Experiences in virtual platforms mostly give empirical results. Especially products, which belong to IT, make virtual environments groundless in physical terms. However, the body is able to space attachment and gain a seat in terms of perception. It brings the question if it is possible to combine all these technological developments and physical perceptions. It is partly possible in today’s world to produce spaces which can be seen as a science-fiction scene in previous phases. Spaces which are adorned with tools with artificial intelligence can also produce the space itself. In the light of all these developments various examples may have the power to change/to convert common spatial practices. All the practices acquired in the context of body-space relationship are always dynamic. However, the spatial practices which can be produced with today’s opportunities may have the power to uncanny these situations [9]. These space and mechanisms’, which presents mutual dynamism, relationship between body and memory is critical. Today’s combination of IT systems may lead to question spatial items’ common practices. A device continuously refreshing all the data body acquired via memory will form new relations in terms of space attachment. To explain these affects a project produced as a prototype and named “Ascending Hypo surface” can be given as an example (Figure 1).

Ascending Hypo surface is made of physical movements of three dimensional screens brought together in order to create a fluid surface. It is a flexible architecture surface with IT systems’ having dynamic variables on surface creating behavior possibilities. System is made of little metal plates, controlled pneumatic constituent parts which are interacting with electronical data. Surface is designed with an expressionistic approach and has an organic display [10]. Interactive systems enable the surface to be a temporary media tool with motives spreading as rhythm and graphics and transferring surface from the second dimension to the third dimension. System offers a wide matrix with its advanced prototype. It brings a physical existence to knowledge. This surface has a physical transformation with special software using the changes of what it perceives in terms of sound, light and movements. The area it is spaced becomes a dynamic space which is changing and transforming according to users’ movement, amount, population and sound level and different time of the day. This situation can be defined as surface’s gaining behaviour. The system enables data to transform into graphics and video visuals with productive algorithmic programs and some three dimensional schemes’ copying. This “digital ocean” creating fluidity with countless combinations and activating with motion and sound also is used as a visual instrument (Figure 2). Ascending Hypo surface is designed by Geulthorpe. In this design Geulthorpe presents his discomfort of technology’s being interpreted in technical way and expressing in designs with developing the idea of Ascending Hypo surface. Geulthorpe tries to associate architecture’s paradigmatic change with society’s electronic environment to cultural adaptation instead of architecture’s representing program’s use. However information textures hybridized with surface in Ascending Hypo surface are different from material’s

Figure 1. Structural Details belongs to Hypo surface (Source: PRAXIS: Journal of Writing + Building, Issue 06, 2004) ___________________________________________________________________________________________________________ G. Duygun, S. Müştak: “Physical and Perceptual Boundaries over the Body in Interactive Surfaces”, pp. 60–66

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Figure 2. Hypo surface and Body Encounters Client: The Birmingham Hippodrome Theatre; Design: Mark Goulthorpe of dECOi Architects; Location: Birmingham, UK, Duration: 1999-2001; Source: PRAXIS: Journal of Writing + Building, Issue 06, 2004

attribution and its change ends with its being something else. For this adaptation Geulthorpe says;

maximum statements seem more suitable than hyperfront appendix” [8].

“If we consider a culture’s basic texture as ‘technology’, every new development’s effect will cause renovation of this area with new technical webs” [8].

With all this potential, Ascending Hypo surface is separated from other exampled by its standing between virtuality and reality and containing both, combination of physical environment and digital technology. Despite its structure tariffing experience, with complicating prediction, common time and space relationship gains another dimension. Surface decided how and when to react. This situation brings the question “is it possible for body to gain a space by creating a perception against surface’s imaginary value when the body and the surface meet?” The answer to that is, it will only show up as an experience when a fiction is included to the life practices. In this context the space it will be used or according to opportunities of the system editing changes and the results and environment will be able to identify.

If it is considered this renovation causes technological developments’ transitions and changes in not only cultural production but also cultural perception, the project will get critical in both ways. First, it requires a technological structure which, in terms of technical, can transform stability in physical means into movement. Second is what the psychological effects might be. The relationship between body and surface gets critical the moment behavior such as losing/changing direction is met. Again it can be explained with Goulthorpe’s explanation as follows: “If it is considered that the cultural tendency is traumatic, in terms of production and perception it can be said that there is a transformation from autoplastic to alloplastic. People start taking action in an alloplastic space increased capacity with exemplification and regulation, answering, conditioned. This expands determination concept spaced in fluidity and physical concept which can be formed with increasing interaction. There’s an uncertain interaction and a mutual examination between people and the area surrounding them” [8]. The project both has a simple structure and enables a new communication area. Metallic and on way surface is stable. Body gains movement with the interaction of light or sound. A real time physical habit and dynamism is discussed and action acts mutually between body and surface. Geolthorpe says the following for this situation;

Physical existence has virtual relation with the surface which was covered computer system. Although some possibilities have changed (smell, sound), the body is limited with the virtuality of these surfaces. Especially in daily life, the space of the survival conditions on the space is still a question for cyberspace. On the other hand; it is a result of looking for a solution virtuality in the physical body, the surface becomes a behaviours producer against the surface and it brought lots of questions to lead lots of discussion understanding the time and space. Especially, this question should be asked; how these behaviours and reactions will affect the designing process? According to that, can it have the potential to affect the whole existence psychologically, time wisely and spatially? Or is it an illusion? This question should be asked first.

“Trauma does not occur with overabundance or excessiveness of meaning, it occurs with cognitive negligence’s intensity. This shortage/inefficiency and flaw, implies subconsciously c characterized hypo-front appendix and this way when the effects of these kinds of surfaces which are created numerical, exorbitance or

In the graphic(Figure 3), linear line is described as surface section and tried to understand if the movement is real or virtual and how far it can go. In the Figure 3 a, b, c, d and e, the matching described as a graphic, is happened in the surface section including colours. These colours are colour codes in the numerical area and these

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create the image on the computer system. As these surfaces are interface of digital virtuality, they do not get differences in the matching between body and physical except for virtuality. When the distance between the surface and body gets closer, virtual image disappears or blurs. It is seen that the behaviour in the cut and on the surface progress simultaneously and act upon the body. The computer system that forms the organization can record these actions and exhibit new behaviour. However, apart from these features it is certain that it contributes new alternatives to the surface. When looking at these

new alternatives it is observed that it contains the behaviour potential on the Figure 3. The relationship with space occurs when the surface encounters the body. Based on this for example it can have the power to abolish the enter concept. If evaluating on the same example again, the space which enter takes space does not have importance any more. In this situation being included in the space can be achieved from any point. With changing the position of the movement ıt prepares an area which questions the time. The designs to be made within all these possibilities will not be similar to the common ones.

Figure 3. Body–surface interaction ___________________________________________________________________________________________________________ G. Duygun, S. Müştak: “Physical and Perceptual Boundaries over the Body in Interactive Surfaces”, pp. 60–66

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Acknowledgements This article is prepared with the help of Architect Gülhis Duygun’s Master’s Thesis under the guidance of Dr. Elif Yeşim Kösten, entitled “The Relation of Space with Digital Technology: Interactive Surfaces” in 2010 at Kocaeli University (Turkey) Graduate School of Natural and Applied Sciences, Department of Architecture.

References [1] Arnheim, R., The Dynamics of Architectural Form, University of California Press, USA, 1997. [2] Arnheim, R., Görsel Düşünme, Translated: Rahmi Öğdül, Metis Yayınları, İstanbul, Turkey, 2007. [3] Avcı, H.O., Metropol Kentlerde Oluşan Zamansız Mekanlar Olarak Metrolar, Master Thesis, İstanbul Technical University Graduate School of Natural and Applied Sciences, İstanbul,Turkey, 2008. [4] Bergson, H., Madde ve Bellek, Dost Kitabevi Yayınları, İstanbul, Turkey, 2007. [5] Deleuze,G., SİNEMA 1: Hareket-İmge, Norgunk Yayınları, İstanbul,Turkey, 2014. [6] Deleuze,G., Dialogues (2nd exp. ed. 1996, with Claire Parnet), 1977.

[7] Geolthorpe,M., http://www.sial.rmit.edu.au/Projects/Aegis_Hypo surface.php (Visiting date: 27 december 2008). [8] Geolthorpe,M., The Possibility of (an) Architecture, Routledge, London, England, 2008. [9] http://www.hyposurface.org April 2016)

(Visiting Date: 10

[10] http://www.sial.rmit.edu.au/projects/aegis_hypo surface.php (Visiting Date : 10 April 2016). [11] http://www.tdk.gov.tr/index.php?option=com_gt s&view=gts (Visiting Date : 10 April 2016) [12] Lefebvre, H., Beden Mekan, Translated: Aslı Doğay / Editor: Murat Uluğ-Aslı Doğay, Mimarlık Dergisi, N: 277, 1997. [13] Merleau-Ponty, M., Algılanan Dünya Sohbetler, Translated: Ömer Aygün, MetisYayınları, İstanbul,Turkey , 1908-1961. [14] Russell, S.J. And Norvig, P., Artificial Intelligence: A Modern Approach, Second Edition, Prentice-Hall, 2003. [15] Spuybroek, L., The Structure of Experience in Anymore, Editor(s) CyhnthiaDavidson, Anyone Corporation, The MIT Press, 169, USA, 2000. [16] Uluoğlu, B., Mimarlığın ve Mimarın Olası Bilgi Alanları Üzerine, İstanbul Technical University Journal, 3, 2001.

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The Journal

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About the Journal

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Instructions for Authors

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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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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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International Journal of Contemporary Architecture ”The New ARCH“ Vol. 3, No. 2 (2016)

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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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