The New ARCH Vol3 No3 (2016) by S.ARCH

International Journal of Contemporary Architecture

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

ISSN 2198-7688

Vol. 3, No. 3 (2016) December 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: baumschlager eberle / ETH e-Science Lab HIT Zürich / Copyright: archphoto, inc. © be baumschlager eberle

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

ISSN 2198-7688

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A WORD FROM THE EDITOR-IN-CHIEF Let us talk about the challenges in architecture. What are the biggest challenges for the future? …To set up ‚iconic buildings‘, to build more environmental friendly, to predict future development of society or just to “survive” in the global jungle of architecture studios from all over the world, fighting to find own place in the community, country or in the world. Or maybe all of them?

Founding Editor & Editor–In–Chief Architect Marina Stosic

During the last 2 decades many things have been changed. With the globalisation, digitalisation and access to the internet for the majority of the worldwide population, variety of opportunities occurred. But with the variety of opportunities, the global competition reached also small and medium size studios, carrying with it all benefits and disadvantages at the same time. So, how can a small/middle size studio respond on that challenge? It can follow good old principles of focusing on the local community and building in the neighbourhood. On the other hand, it can dare to step into the jungle and face the unknown fields of cultural, geographical and aesthetic challenges. Of course, the best way for doing this is to participate in the architectural competitions. And of course, it is the way of low efficiency in terms of designing numerous buildings from which only very small percentage will actually be built. It is clear that many studios struggle with economic aspects of not being paid for the efforts, but one may find a comfort in the fact that the invested time and the done work are not wasted. Every design, every study brings us further in our knowledge and experience. The more practical fact is that even every idea or part of it may be re-used, transformed and implemented in another approach and circumstances. In this course, just participating in a competition might also be seen as an enrichment for the studio. Well, for those, who choose the way of competitions, god luck for the next battle!

___________________________________________________________________________________________________________ A Word from the Editor–in–Chief

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

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Wasit Natural Reserve Visitor Centre

Dragos Mircea, Marius Miclaus, Valeriu Stoian Integrative Design Team – A Path for Innovation in the Case Study of Caltun Refuge

M. Ernur Akiner Smart Cities Transformation in Turkey

Levente Szabó New Period of Memorial Places? The Possibilities of Architectural Thinking that form Individual and Collective Process of Remembrance

Paolo Bertolotti New Dhaka – Aspiration as a Key Design Element in Urban Planning

Vasilija Abramović, Henri Hubertus Achten Flexible, Interactive Structures for Future Visions: A Case Study

Ardita Byci Jakupi Landscape Architecture as Environmental Harmony

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About the Journal

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Instructions for Authors

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Authors‘ Papers

Interview with Dietmar Eberle

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. 3 (2016)

ISSN 2198-7688

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

ISSN 2198-7688

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

ISSN 2198-7688

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Carlo Baumschlager and Dietmar Eberle set up their architectural partnership in 1985. During the early years they designed detached houses and put their first innovative ideas for high-density, low-rise buildings into practice, which soon gained them recognition beyond regional boundaries (Hohe Wies residential estate...). In this initial phase the core team consisted of three to six employees.

Interview with

DIETMAR EBERLE

In addition to these projects the partnership extended its activities to the design and construction of commercial and office buildings as well as large housing complexes. Prominent among the clients were private and public developers and local cooperatives. Key aspects of sustainability were incorporated into their planning work at a very early stage; economy, resource conservation and social acceptance evolved into fundamental principles. In a related development, research into different types of buildings and facades became a major factor in the working methods adopted by Baumschlager Eberle (LTW, NHT Lohbach ...). Once the partnership was firmly established in the regional context, the next logical step, undertaken in the 1990s, was to expand to the national level. Internationally, too, Baumschlager Eberle gained recognition and acclaim for such projects as the headquarters of the Munich Reinsurance Company and the new airport terminal building in Vienna. This resulted in the setting up of the first branch office in Vaduz in 1999 and the Vienna office in 2001. At this stage the partnership had 50 employees. Thanks to its dedication and commitment the practice achieved further successes in architectural competitions, while its specific know-how increasingly led to direct building commissions. These included the construction of the UNAIDS building in Geneva and the Moma high-rise apartment blocks in Beijing. The ground was thus laid for the setting up of further branch offices in Beijing, St. Gallen and Zurich. In view of the increasing degree of complexity involved in building and construction processes BE developed a set of complex management and control tools with the help of their own project log in order to meet quality assurance and sustainability requirements. The presence of local offices enables BE to properly understand the respective cultural context while heeding the specific needs of the client. This ‘think global, act local’ approach has resulted in the transformation of BE into a network of autonomous office units and the establishment of further branch offices in Hong Kong, Berlin and Hanoi. Carlo Baumschlager left the partnership in 2010. The BE Group continues to grow steadily and now has a permanent staff of 120.

Dietmar Eberle Photo Copyright: Christine Kees

___________________________________________________________________________________________________________ Interview with Dietmar Eberle

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

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ETH e-Science Lab HIT Zürich Copyright: archphoto, inc. © Baumschlager Eberle Architekten

Could you tell about your childhood? How did it affected your development and your work as an architect? Eberle: I grew up in a small village in the mountains in the Western part of Austria – in the Bregenzerwald – which is, by tradition, a very poor area. So living was determined by working very hard and being far away from any political government. According to the political freedom in this area, there is a long tradition that men went to foreign countries to earn money during the year. They left in spring and came back in autumn. So women were the real important social factor, because they were responsible for the wealth of the families. At the same time, there is a big tradition to manage life under such difficult conditions for cooperation between people or organizations like cooperatives. So in this surrounding there were 2 important experiences for my future life: one was the importance of women and the other one was to be very careful with everything you have because there were limited possibilities. Besides this, as a child, I was impressed by every construction side and it was not important if the construction was a street, a river, a tunnel or a house

and I went to these places as a child for many hours because I was so impressed by this experience of projects and their development. So there is still, what I have today, a very positive feeling of all the things which grow out of ideas with limited resources. Have there been any particular influences early in your career? Eberle: Close, opposite of my home, there was the workshop of a carpenter and a small river. Even as a child I was allowed to use all these carpenters’ machines to build mainly small interventions for the very small river. So having this possibility to build something, see if it works, go back and forward – this is something what influenced me my entire life until today. What were the precursors influencing your interests in „every day architecture“. What do you feel is the greatest challenge when it comes to designing „every day architecture“? Eberle: The biggest challenge to do every day architecture is to do a contribution to the site of the building and to fulfil the demands of the people which will use and pay the building - which means it’s always complicated to do a balance between outside-in and inside-out.

___________________________________________________________________________________________________________ Interview with Dietmar Eberle

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

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How important is a building character to you? Are your purchasing to define a character by the building itself or should it rather be „open and free”, so that the users may create its character? Eberle: What is a building character? In my understanding the most important user of the building is the person who never enters the building but only passes by because in his mind and in his feeling the importance of the building in relation to the public is experienced. This very specific contribution of the building to the public will decide about the lifetime of the building, which is the most important question in economic and ecological terms. The building inside has to have its very specific atmosphere - and to be open and free at the same time. So the character of the building is determined by the dimension, light, material of the spaces in the building, which are used by everybody who uses the building. The rooms, the different areas, should be free to open a lot of opportunities for the future generations.

You have never sought to create a continuous signature in your architectural designs, but rather always having very individual approach to each project, focusing on the particular geography, culture and local resources, gaining the best possible benefit and quality out of each? Eberle: No I’m not interested in a continuous signature. For me the richness of Europe are the differences. So the atmosphere of a city like London in relation to a city like Paris or Budapest is for me more important than the question, if you can recognize me as a person in London, Paris or Budapest. In every building I try to develop a building as a contribution to the site where it is. My personal signature is the way how you do this contribution – national, highly efficient and open for the future.

Is the architecture, in some way, the visual representation of society?

You often say that we cannot exactly predict the changes of society in the future. Thus, the architecture should be flexible in order to be able to respond on future demands and challenges. In this course, should the architecture strive for influencing the way society works or is it reversed?

Eberle: Yes – architecture represents the values of the society in different periods of their development. Architecture is a mirror of the different values according to the different periods.

Eberle: Architecture should be open for the different uses of society. So, for me it’s not important if a building is for housing, working or education – the things should be possible in the architectural structure.

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

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Following your statements „Replace the hardware with the software…Use knowledge to dematerialise the building as much as possible…“ you have shown in the project Office building 2226 an excellent concept of architecture with minimum of technic. Do you think this approach is the key for future projects? Eberle: The approach to use more knowledge and less hardware  which means less resource, is a general approach towards managing the future of high development. This planet is limited in resources, which are the basic of hardware, but not limited in thinking, believing and this is the biggest resource for managing the future. We have this approach not only in the building industry but in all industries and therefore the biggest companies in the world nowadays are not any more the hardware companies but the software companies. What they do, is learning to use all the existing knowledge in a more efficient way. But the building industry, according to its locality, always was an industry which developed much more slowly than other industries.

It is clear that our cities are changing. You are convinced that walking itself is a future way of mobility throughout the city. Could you explain this? Eberle: The way of how we transport ourselves or our goods determines the layout of the city. The different characteristics of the cities out of different periods are determined by the mobility question. In history you can see this very clear. At this moment, we experience, nearly in all cities in all over the world, the problem how mobility is organized. It’s not important if you speak about traffic jam, air pollution, sound pollution and a lot of other impacts on the build environment which is done by our mobility systems. Nobody is happy with this situation and therefore there is a lot of research about new ways of mobility like self-driving cars … Everybody understands that there is no growth of this system possible anymore and everybody experiences the time, which he spends for travelling, to manage his everyday life, becomes much too high, because the distances between working, housing, education, leisure

___________________________________________________________________________________________________________ Interview with Dietmar Eberle

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

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Villa K, Los Angeles Copyright: © Baumschlager Eberle Architekten

___________________________________________________________________________________________________________ Interview with Dietmar Eberle

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

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are much too big. But when you put these things much closer together, so that you have a walking distance between these different issues, which we use for everyday life, it’ll be more comfortable again. The density of the city would increase and at the same time, you would no longer need any more a lot of resources in economic and ecological terms. So walking means higher densities. This is a contradiction to a lot of development what we have done in the 20th century, where we lowered the density, and at the same time increased the area for the necessary transportation. In history we developed a lot of city models without any traffic systems, as we used to use in the 20th century. Therefore I believe all this models – it does not matter in which country of the world – are characterized by much higher densities. These models are a good starting point to learn again to use the land in a more efficient way. This kind of thinking represents once more this idea of replacing hardware, traffic area and vehicles, by more knowledge and walking. Use the things you have in a more efficient way – even if it’s only your legs.

Sometimes you are using small building projects to perform experiments, as with different materials, design forms, etc. How important are these experiments for your work?

Eberle: Yes – the way of my training to know something means do it and afterwards judge it and the best process it to learn something. This is the most common scientific method to be used in a lot of different fields for increasing your knowledge – do experiments!

In terms of designing numerous buildings (mostly for competitions), from which only 5-10% will actually be built, there are opinions that „humiliation is a part of architect’s daily lives”. However, your studio has an excellent productivity. You have built approximately 400 buildings. What approach had led to this extraordinary outcome? Eberle: To do competitions is based on very different experiences in very different countries. So your general saying that only 5 - 10 % will actually be built is a question which is very different in the different cultural backgrounds. Why we built so many buildings and will build even more buildings – this approach is very simple. Listen to your clients and ask yourself if you can help them. Architecture is not about you and your continuous signature – architecture is a contribution to different cultures, different cities and different users. All of these things you have to consider properly and it’s the obligation of the architect to find the best solution for these questions.

BNP Paribas Fortis Bank firmiert jetzt unter Montagne du Parc Copyright Renderings: © Baumschlager Eberle Architekten

___________________________________________________________________________________________________________ Interview with Dietmar Eberle

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

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2226 Lustenau Photo Copyright: archphoto, inc. © Copyright: © Baumschlager Eberle Architekten

The word „sustainability“ has been one of the most debatable, or almost abused, terms over the past decades. What is the sustainability in architecture for you and should we define it at all? Eberle: The definition of sustainability in architecture is very simple. Do something efficient for the society and the user in the most long-term view you can imagine. So all the thinking about different timeframes is the meaning of the word sustainability.

What is a “responsibility” in our profession and how would you define the “responsibility” of an architect? Eberle: The responsibility of an architect is nothing special or more important than the responsibility of anybody in the society but the architect has to respond on to 3 different systems of thinking: He has to respond to the history and the state of the art of his discipline, he has to respond to the needs of the society in a long term view and the needs of the user in a short term view.

___________________________________________________________________________________________________________ Interview with Dietmar Eberle

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

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La Maison du Savoir Belval Photo Copyright: archphoto, inc. © Copyright: © Baumschlager Eberle Architekten

La Maison du Savoir Belval Photo Copyright: archphoto, inc. © Baumschlager Eberle Architekte

___________________________________________________________________________________________________________ Interview with Dietmar Eberle

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

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WASIT NATURAL RESERVE VISITOR CENTRE Wasit Natural Reserve was originally a waste-water and rubbish dump. The rehabilitation process of the damaged eco-system started in 2005, 40,000 m2 of rubbish removed, 35,000 trees been re-planted, healing the land from toxic chemicals and conservation of the Unique salt flats and coastal sand dunes. After years of efforts to bring the non-migratory birds back to the site, WNR is now home to 350 species of birds, a landing zone for 33,000 migrate birds, and a breathing lung to Sharjah city. A wetland visitor centre is established on site to continue protecting the natural environment, educate people on the richness of the wetland ecosystem and provides information about the birds that frequent the area and other wetlands areas of the emirate. The facility became heaven for bird watchers and researchers. The architecture of the centre blends with its’ surroundings and uses the existing topography to minimize the visual impact on the natural scene. When visitors arrive, a pathway leads them underground into a linear Gallery. A fully transparent wall allows the visitors to experience the birds’ natural environment and become part of it. DESIGN STUDIO: X-Architects, Dubai / UAE DESIGN TEAM: Ahmed Al-Ali, Farid Esmaeil, Mirco Urban, Pariya Manafi, Dana Sheikh, Abdullah Bashir, Waleed Al Mezaini, Christian Geronimo, Brian Abarintos, Eyad Zarafeh, HaiderAl Kalamchi. ___________________________________________________________________________________________________________ “Wasit Natural Resrve Visitor Centre”

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

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

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2015, Sharjah, UAE; CLIENT EPAA, Environmental and Protected Area Authority; PROGRAM Visiting Centre; BUILT UP AREA 2,534 sqm; STATUS Built; SCOPE Architecture / MasterPlan / Environmental Consultancy; PHOTOGRAPHY © Nelson Garrido ___________________________________________________________________________________________________________ “Wasit Natural Resrve Visitor Centre”

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

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Authors’ Papers

Dragos Mircea, Marius Miclaus, Valeriu Stoian

Integrative Design Team – A Path for Innovation in the Case Study of Caltun Refuge 8

M. Ernur Akiner

Smart Cities Transformation in Turkey 17

Levente Szabó

New Period of Memorial Places? The Possibilities of Architectural Thinking that form Individual and Collective Process of Remembrance 26

Paolo Bertolotti

New Dhaka – Aspiration as a Key Design Element in Urban Planning 34

Vasilija Abramović, Henri Hubertus Achten

Flexible, Interactive Structures for Future Visions: A Case Study 43

Ardita Byci Jakupi

Landscape Architecture as Environmental Harmony

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

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DOI: 10.14621/tna.20160301

Integrative Design Team – A Path for Innovation in the Case Study of Caltun Refuge Dragos Mircea*, Marius Miclaus, Valeriu Stoian "Politehnica" University from Timişoara Dan Capitan 5, 300402 Timisoara, Timis, Romania; dragos.mircea@gmail.com

Abstract

1. Introduction

The project for Caltun Refuge gathered a complex team of specialists that managed to reach a high level of collaboration and performance in designing a unique sustainable object that answers the extreme conditions of the Fagaras Alpine Natural Park. The concept for the shelter is a prefabricated module that represents a pilot project and a starting point of analysis for future development in three possible configurations. The project team will be able to continue to analyse and develop in the future the shelter typology for different sites and program variations. The following article analyses and presents, from a project management point of view, the integrative Design-Build-Operate process. Consequently, the analysis of the project’s characteristics and impact on a larger scale will underline its sustainable features that were encompassed from the conceptual design stage.

Situated in the Romanian Southern Carpathian Mountains (Figure 1) at an altitude of 2160 meters is the newest remote shelter in case of danger designed by a complex team of specialists and volunteers coordinated by architect Marius Miclăuș. Owned by the Emergency Service of Salvamont Sibiu the Caltun Refuge is about 350 meters below the Caltun peak in an area considered one with the highest risk of accidents in the Fagaras Alpine Natural Park. The present article firstly analyses the project considerations related to the remote location in the Southern Carpathian Mountains and the extreme challenges resulted It is important to introduce the refuge notion, defined as a simple construction, low-comfort, that can be found in isolated areas with long and difficult trails [2] as it is the case of the Fagaras ridge trail. These conditions represent complex challenges for any project so the article starts with key points that describe the process to overpass these obstacles and lead to a successful sustainable module using an integrative planning process.

Keywords:

Remote architecture; Project management; Integrative design; Modular system

Article history:

Received: 25 May 2016 Revised: 10 November 2016 Accepted: 09 December 2016

The starting point for the new Caltun Refuge represented the observation from the Emergency Service of Salvamont Sibiu about the advanced overall state of degradation that the previous shelter was in (Figure 2). The first project proposal was a conventional structure with reinforced concrete foundations that weighted around 18 tons. An alternative was sought out with a call for bids made by the owner Sibiu County Council together with the Emergency Service of Salvamont Sibiu. The agreed upon solution was to purchase a prefabricated module that works as a shelter for tourists and a permanent centre for emergency personnel.

___________________________________________________________________________________________________________ D. Mircea, M. Miclaus, V. Stoian: “Integrative Design Team – A Path for Innovation in the Case Study of Caltun Refuge”, pp. 1–7

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Figure 1. Southern Carpathian Mountains Fagaras Alpine goal Natural Park [1]

Figure 2. Călțun Refuge between 70’s and 2016 [3]

Figure 3. Călțun Refuge [3] ___________________________________________________________________________________________________________ D. Mircea, M. Miclaus, V. Stoian: “Integrative Design Team – A Path for Innovation in the Case Study of Caltun Refuge”, pp. 1–7

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2. Extreme challenges The extreme location of the project's site and its characteristic features was the task hardest part for the bidding team. The project was first analysed from a multi point criteria taking into consideration the environment, project destination, time and budget, transportation, means of manufacturing and building process. One of the defining factors in the development of the project was the calculation of load bearing of snow and wind specific to the stress analysis at the location. The standardized loads for wind calculation measure more than 160 km/h and for snow that can reach 4 meters high the corresponding load is 2.5 tons/m2.(Figure 3) These parameters influenced the complex process of cad design in the planning of a rigid shell that evenly distributes the resulting efforts and loads.

Besides the strict choice of materials a lifecycle overview with a focus on planning for disposal phase was taken into consideration. Therefore the structure can be disassembled anytime, within 4–5 hours, and transported to another location without affecting the environment it was located in. So the environmental impact is relatively small because of the innovative solution given by the proposed modular structure. Călțun Refuge, as modular construction, allows the possibility of flexible partitioning and fast manufacturing and relocation, features that among others are framed in the category of sustainable buildings. Such characteristics have improved the project design brief that requested the development of a bipolar structure consisting of an Emergency Service permanent point and a space for tourists, representing an area of 36 m2

The high altitude of 2160 meters was accepted as a challenge by the entire team and the resulting structure is a premier - the highest positioned Cross Laminated Timber – CLT structure in Central and East Europe. Additionally the environment protection was one of the most challenging issues that was taken into consideration. Due to natural park regulations the project's footprint must be reversible so no foundations were allowed, only a limited number of rock anchors for stability. Also the new Călțun-Refuge was placed in a different location than the previous one, a few meters higher, so in order to avoid pollution of the lake area. The old platform located near the lake has become a helicopter landing position in case of emergency rescue. Sensitive architecture was one of the important focus point of the project so the team developed a model that was sensitive to the environment. Therefore, shape and materials were heavily assessed before being outlined into the project. General considerations were taken into account for materials with eco-friendly properties that in time would not endanger the environment, that would integrate and blend into the surroundings (Figure.4).

Figure 4. Călțun Refuge 2016 [3]

Figure 5. Planned transportation [3] ___________________________________________________________________________________________________________ D. Mircea, M. Miclaus, V. Stoian: “Integrative Design Team – A Path for Innovation in the Case Study of Caltun Refuge”, pp. 1–7

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Figure 6. Călțun Refuge 2016 [3]

divided into two rooms. The resulted design offered the possibility of transportation with a helicopter at the location and assembly on site using a minimum number of trips (Figure 5). Reducing the carbon footprint was a hard task due to fuel consumption by the helicopter and was studied during a multidisciplinary design process including CAD laborious testing for aerodynamic loads. Also transportation had a great impact on project manufacturing methods and materials together with the building and assembling process. Remote design led to the solution of off-grid solar panels for electricity and a responsible mountaineering usage. The budget and strict time schedule made the task more complicated because the starting budget was a low cost one (less than 30.000 EUR), not including transportation, and only 3% (855 EUR) were used for design. Early stage conceptual thinking of the architect Marius Miclaus’s idea of „a lighthouse in in the mountains” (Figure 6) was the real extreme challenge to be accomplished by the multidisciplinary team. Through all of the project stages the module versions preserved the shelter tower as a conceptual shape.

3. Integrative design team The initial analysis made by the bidding team pushed them in the direction of a master builder type of thinking, therefore taking into consideration the entire

project management and even further. A master builder is a concept, updated by the architect and consultant Bill Reed [4], that describes the integrative design process as the modern equivalent of the master builder in preindustrial society that sums the knowledge of building science and technology, knowledge about the available resources of the area and the elements needes for building and construction operations. A perfect example for the case is the Caltun shelter project that was developed by a team of 42 people including architects, engineers, architects, students, rescuers, pilots, volunteers and more (Figure 10). Head of project and management design, Marius Miclăuş, assembled the multidisciplinary team with young professionals capable of developing the project from beginning to end. The project team included Marius Șoflete - an engineer specialized in wood construction, engineer Cornel Farcas - responsible for the metallic structure concept and coordination, and young architects and architecture students volunteers: Ovidiu Balan, Paula Avram, Maria Andrecencu, Raluca Nicoleta Ciobanu, Raul Andronache. The flight team that included Chirita Neculai (flight team commander), Carstoiu Traian (second pilot), Canache Neculai (tasks operator) and Pavel Octavian (technical foreman board) was part of the solution development from the start, having the task of coordination and supervision of the design details. Everything was conducted under the watchful eye of the mountain rescue service coordinator

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Adrian David. All the photos and videos during the construction were made by volunteer architects Andi Buftea and Micsa Ovidiu togheter with photographer Olimpiu Vuia. Each member had a well-established role and, in an interactive way, they managed to carry out this great challenge named Călțun refuge. Overgaard graphically outlined the iterative design process following the project lifecycle stages (Figure 7). Conventionally, the iterative design process is individually performed by each design discipline: the architect designs the plans, sections and elevations of the building, the structural engineer produces the spatial structure that allows the building to be built, the plumbing engineer will generate a solution that will make the space comfortable and so on. Designers would occasionally meet during their work to ensure that their solutions are not in conflict. So the project is defined separately and not as a result of a joint process of thinking. Such an interaction in the planning process was the interaction between CLT manufacturer, the design team and the pilot chef Nicolae Chirita.

Figure 7. Iteration in different phases of construction projects [5]

As a result of this collaborative team effort the final structural and manufacturing solutions consisted of 29 mm diameter bars, that were threaded into existing rocks on the site, covered with CLT (Cross Laminated Timber), that is a natural material derived from wood with very high mechanical strength and moisture, and protected from the elements with a special aluminium sheet brought from Norway. The entire construction shell is held together with 3000 screws that were calculated exactly for each panel. Engineers from the company that delivered the panels recommended a thickness of at least 14 cm to withstand the wind load over 160 km/h (Figure 8) and snow of 4 meters high and 2.5 tones/m2 heavy. Such thickness implied a bigger load for transportation and the entire budget would be compromised. Due to extensive design and strong concept oultine the entire building functions as a rigid shell that distributes uniform the resulting efforts, so the iteration of the CAD modelling resulted in 6 cm of CLT for walls and 8 cm CLT for roof structure.

Figure 8. CAD planning

The last 23% of the budget was given to transport and the pilot’s team is maybe one of the best in Romanian aviation. An amount of 4.5 h of communication between the pilot crew chef and the design team were needed to integrate the transportation knowledge into the model. At the end, 8 tons of kerosene were burned for delivering the model on site. Nevertheless, when design is approached from an integrative perspective, the project team understands, develops and generates collective solutions, therefore the design process becomes an organic one. Due to high performance expectations imposed by the environment, transportation method, low budget and function the

Figure 9. Diverse teams V.S. Homogenous teams [6]

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project has encompassed a time frame equivalent to the design process of three apartment buildings, as engineer Marius Soflete told in an interview for Zeppelin (2016). But innovative ideas arise when participants go beyond their limits of expertise, support, innovation and performance in complementary disciplines. This is what effective examples of integrative design processes are teaching us. This result is partially due to the limited degree of familiarity and associativity that allows multidisciplinary teams to develop performant solutions. (Author Frans Johansson's The Medici Effect "speech in 2004) (Figure 9). Finally, a natural bound was build inside the project team due to a spirit of camaraderie and their deep love for the mountain that each participant was sharing (Figure 10).

4. Innovation and results In conclusion is essential to underline the unique outcome that defines the flexible modular system developed by an integrative design team. The modular structure of the shelter is capable of adapting and responding to different conditions. It was designed to be used and delivered in three versions because of the three functional modules with a capacity of 8, 16 or 22 places inside (Figure 11). A version without the Emergency Rescue room (16 people), another

version without the front access space with kitchen and a third option, another basic module, without the parts mentioned above (8 people). All versions of the module preserve the shelter tower concept idea of „a lighthouse in in the mountains” Marius Miclaus . In its complete form it can provide optimum protection for 22 tourists and four mountain rescuers. The resulted work can be defined as an unique sustainable object sensitive with the users and the surrounding environment. The ongoing first year user assessment of the project has been giving an overall good appreciation for project characteristics. The following factors were assesed: functionality, accessibility, interior space, materials, interior temperature comfort, air quality, light, general interior confort, aesthetic value. The questionnaire that focused on user satisfaction, concluded until now, that the Caltun shelter project is well apreciated with 9.4 points out of 10 average user satisfaction score. The assessment brought to light a ventilation deficiency that is already on the design teams table for research and development.

5. Conclusions Due to overall performance, the pilot project can be considered a model for best practice regarding integrative design.

Figure 10. Project implementation team ___________________________________________________________________________________________________________ D. Mircea, M. Miclaus, V. Stoian: “Integrative Design Team – A Path for Innovation in the Case Study of Caltun Refuge”, pp. 1–7

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Figure 11. Project plan and cross section

According to the authors’ opinion, supported by the user response, Caltun shelter represents a very successful project experience where the principles of sustainable planning have been applied on a common benefit initiative. The innovative part of the process for this type of structures is the modular system construction that offers the possibility for further development and improvement regarding comfort and can be used as a design solution response to extreme conditions in other extreme locations in the Carpathian Mountains or elsewhere.

6. Founding source Utopia N.G.O. – Non-governmental organization concerned with matters related to sustainable design, architecture and urban development. Utopia N.G.O. has sponsored the research process of the present article.

References [1]

goo.gl/8fy1nK last time accessed on 09.11.2016 Google Maps, Google Inc.

[2] https://dexonline.ro/lexem/refugiu/48327, last time accessed on 21.05.2016 Marcel D. Popa, Alexandru Stănciulescu, Gabriel Florin-Matei, Anicuţa Tudor, Carmen Zgăvărdici, Rodica Chiriacescu, Encyclopedic Dictionary, Editura Enciclopedică, Bucharest, Romania, 2009. [3] https://admostudio.com/2015/12/16/caltunmountain-hut/ last time accessed on 21.05.2016 MICSA OVIDIU, RADU NECHIT, NICOLAE CHIRITA, OLIMPIU VUIA, 2016. [4] Bill Reed, S. Rick Fedrizzi and 7 group, The integrative design guide to green building – redefining the practice of sustainability, ISBN 978 - 0 - 470 – 18110 – 2, John Wiley & Sons, Hoboken, United States of America 2009. [5] http://www.ibrarian.net/navon/paper/Do_we_bu ild_the_right_thing_.pdf?paperid=1591431last time accessed on 09.11.2016 Overgaard Flemming., Do We Build the Right Thing?, Ph.D. Seminar, Final Paper, 2004. [6] Frans Johansson, The Medici Effect , Harvard Business Review Press, Brighton, United States of America, 2004.

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DOI: 10.14621/tna.20160302

Smart Cities Transformation in Turkey M. Ernur Akiner Akdeniz University, Vocational School of Technical Sciences 07058 Antalya, Turkey; ernurakiner@gmail.com, ernurakiner@akdeniz.edu.tr

Abstract

1. Introduction

The main purpose of this study is to define measures that need to be taken in order to transform cities in Turkey into smart cities. Integrated operation principles and the policies needed for putting relevant governance models into practice will also be determined. It is important to raise the awareness of the every individual against climate change and they must work to reduce greenhouse gas footprint. Beside all, urban activities are important factors for the increase of greenhouse gas emissions. Potential of CO2 and CH4 emissions caused by agricultural and livestock activities have been identified for this paper. As a result, an information society is generated by implementing smart applications. Smart applications within metropolitan areas and urbanization have to be prioritized and the planning for these implementations must be developed. Intelligent transport systems should be developed and the interoperability among the applications of different institutions must be provided. Smart applications in the fields of health, urban transport, housing, energy, disaster and water management has to be supported in accordance with the priorities determined by the regional development agencies. Production and commerce of high technology products needs an implementation of the necessary environment that involves citizens in innovation.

Smart Cities approach in urbanization would improve living standards of citizens through improving efficiency of urban systems, living environment, quality of services provided to citizens and competitiveness of cities, respectively. Smart cities solutions have a big potential in order to cope with societal challenges in cities. Many cities have already introduced smart applications in Turkey, particularly in transport and urban services. But smart applications in the fields of energy and water management are in their infancy. The biggest challenge hampering widespread implementation of smart cities solutions within urban areas is the lack of financial fund, expert engineers, and skilled labour. Also, the missing geographical information systems (GIS) infrastructure is another challenge against the smart cities transformation. Turkey's current potential can lead to the formation of smart cities transformation and a high degree of information society. Results of this research show that lower carbon dioxide emission initiatives are embodied within the environmental sustainability agenda are not clearly defined yet in the smart cities concept.

Keywords:

Climate change; Information society; Smart cities; Turkey; Urbanization

Article history:

Received: 18 April 2016 Revised: 31 October 2016 Accepted: 08 December 2016

Urban growth management and sustainable urbanisation process have taken place as the most important agenda of the 21st century. The concept of smart cities has evidently taken steps towards smartness and technologically based solutions of complex city challenges have adopted initiatives for transforming cities to energy-efficient settlements. Scholars argue that the smart city could provide a transformative panacea for urban development, as well as inform planning and policy decisions of the cities [1 4]. Smart services transform the city and its inhabitants technologically, governmentally, economically and socially. Along with these smarter solutions, dissemination of the sustainability ideology has had a significant imprint on the planning and development of our cities [5, 6].

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The term smart generated from Smart Growth movement and has become a common term which supports new policies for urban planning over the past decade [2]. Hodgkinson [3] then proceeds to adduce the term smart has become part of the language of urbanization policy, referring to the clever use of IT to improve the productivity of a city’s essential infrastructure and services and to reduce energy inputs and CO2 outputs in response to global climate change. Mitchell [1] state that the increasingly effective combination of digital telecommunication networks (the nerves), ubiquitously embedded intelligence (the brains), sensors and tags (the sensory organs), and software (the knowledge and cognitive competence) create smart environments. Nevertheless, services and infrastructures that are supported by using information and communication technologies (ICT) are defined as Smart City. Smart City infrastructure used by citizens has similarities with intelligent applications they use today. Wireless internet, eBooks, smartphones, sensor networks, Facebook and Google map, android applications are examples of intelligent applications. Construction of the digital city must have four critical elements that are economic, social and environmental sustainability and the inspiring leadership. Smart city restructuring is innovative and focused on citizen satisfaction. It comprises concept of continuous access of the citizens and working of the entire unit with a single automation system. Each process is performed at a time. It is a systematic solution, repeatable, expandable with new modules. It is sustainable, the process involves the improvement, and it gets into the positive economic effects of the elements. The majority of citizens living in the city should have adapted to the city and fulfil the duties and responsibilities the urban life [7]. This is a key indicator for the formation of a smart city. There are many benefits that are provided to urban management and citizens by building the Smart Cities. National Academy of Sciences report [8] declared that complex city systems and human interventions are the ones risking climate change, whereas understanding issues connected with cities and complexities can help measure and decrease the impacts of carbon dioxide (CO2) emissions and climate change. In this respect, individual choices would either reflect a response to city challenges, such as carbon dioxide reduction, or be stringently set within the context of a lens that considers most deeply their views [9]. Cavada et al. [9] support the idea that evaluating the carbon dioxide significance of smartness is undoubtedly going to be problematic, not least when engineers have yet to evaluate fully the complexities of the smart agenda itself. Moreover, one of the associated challenges appears to be a lack of

official smartness indicators at international or national levels, and where they do exist ‘low carbon dioxide’ appears to be somewhat lost within the smart cities agenda [9]. This research is mainly addressing the agenda of low CO2 emissions that provide a range of sources for smart city rankings. Smart city concept and its potentials for solving complex urban challenges is explained in a comprehensive manner and reveal a general analysis of world examples within the framework of the principles and criteria for attaining smartness in cities. The inferences from this analysis can provide a basis for the Turkish smart solution initiatives.

2. Smart city concept Transportation systems, electric, water and sewage infrastructures, security, health and public safety are integrated into the urban infrastructures and services through the smart city concept. ICT based initiatives by some technology companies like IBM, Siemens and Cisco had a trigger effect on the advancements in planning, development, operation and sustainability of urban services and facilities at the beginning of 2000s [2]. Smart city concept can supports sustainable development and brings solutions for diverse problems of development. The term Smart City cannot be used for describing a city as a whole. However, it can be used to discuss its different components like its citizens, governance, communication, economy, environments or transportation. Most of the activities in urban growth can be related with the Smart City e.g. education, urban infrastructure, user participation, industry [10]. Smart City includes strong relation between the city administration and its citizens. Recent solutions in urban activities like transport technologies, public safety, environmental sustainability and energy can be associated with Smart City [10, 11]. Smart cities Ranking of European medium-sized cities is the research was carried out in collaborative work of the Centre of Regional Science at the Vienna University of Technology (lead partner), the Department of Geography at University of Ljubljana and the OTB Research Institute for Housing, Urban and Mobility Studies at the Delft University of Technology. Research report was edited by the Centre of Regional Science (SRF), Vienna University of Technology in October 2007. Research project focused on the 70 medium-sized cities and thereby considering a broad range of factors and indicators, inherent to the concept of smart cities [10]. Giffinger et al. [10] identified six characteristics (see Table 1) as a roof for the further elaboration of smart cities which should incorporate the findings but also allow an inclusion of additional factors.

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Table 1: Characteristics and factors of a smart city (adopted from Giffinger et al. [10])

Most of the scholars [12 - 16].have introduced the terms and definitions related to building the cities of the future and the future of the cities by using the state of the art information and communication technologies (ICT): smart, intelligent, ubiquitous, digital, knowledge, sustainable, green, creative and innovative [4]. Nam and Pardo [13] suggested four dimensions for the concept of smart cities; (i) Infrastructure and ICT: Adoption of strategies for modern infrastructure, (ii) Creative economy and knowledge-based society: Improving competitiveness and favourable environments, (iii) Sustainability: Promoting green economy and high social awareness in an environmentally sustainable lifestyle, (iv) Human infrastructure: Investment in social and human capital; engaging citizens in governance processes [4]. A Technical Report was written by the focus group on smart and sustainable cities connected to the International Telecommunication Union (ITU) with the aim of establishing a concrete definition for smart sustainable cities which can be used worldwide [17]. Approximately 116 existing definitions of smart sustainable cities were studied and analysed by using as a guideline the attributes and themes of Smart Sustainable City developed in a parallel ITU-T Technical Report on the Overview of Smart Sustainable Cities [17]. According to the report [17] although there is abundant literature available on smart cities, there is no standardized, commonly accepted set of terminologies which would help to aptly describe a Smart City.

Furthermore, such a standardized definition will help create a more defined structure in relation to information and communication technology (ICT) infrastructure, key performance indicators, metrics and policies for smart sustainable cities as viewed by ITU. The following common criteria were used as a guideline, based on key attributes: (1) sustainability, (2) quality of life, (3) urban aspects, and (4) intelligence or smartness [17]. Prado et al. [4] proposed a smart city definition within the light of the review of the literature as follows: “Smart city is a community that systematically promotes the overall well-being of all of its residents and which is flexible enough to proactively and sustainably become an increasingly better place to live, work and play. Prado et al. [4] noticed that two different research agendas were emerged from the proposed definitions of smart cities: (i) How to start and drive the transformation process of places in smart cities, and (ii) How to assess this process. The first agenda includes framework proposals, strategies, approaches, methods and techniques for planning, initiating and managing transformation processes of a given geography in a smart city; The second research agenda includes conducting studies that propose mechanisms to evaluate a locality, not only according to the metrics associated with the various domains of a smart city [18], but also their ability to autonomously conduct the transformation processes it will need to go through to become an even better place to live [4].

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3. Methodology Today, smart city solutions are aimed at improving the quality of life of people living in urban. It is gaining importance in many cities around the world. Laws for the smart city transformation are put into practice quickly to solve the problems. Smart city solutions for energy, environment, water, transportation, urban services, security and health care can be analysed integrated with Urban Information Systems (UIS) and Geographical Information System (GIS) [19]. However, first of all main problems faced by cities have to be defined.

3.1. Energy area In energy area, losses in the distribution and illegal use of electricity are increasing. More expensive and inefficient energy sources are used with increasing energy demand.

3.2. Environmental area In environmental area, renewable resources are being rapidly depleted in cities. The increase in the number of vehicles, environmental problems such as air and water pollution is also a major threat to people living in urban areas. Irregular and unplanned urbanization, infrastructure and the collection of solid waste and storage brings environmental problems [20]. "Ecology" as the first word was used by Ernest Haeckel, a German biologist, in 1866 [21]. Ecological degradation through pollution is especially due to the rapid migration from rural to urban areas, population growth, rapidly growing consumption in connection with industrialization, and waste production as a result of diminishing natural resources. This situation will affect the lives of future generations, especially in recent years, many experts from relevant disciplines, politicians and local officials are working to find solutions to the problem. A special kind of ecological policy provides interactions between people and the environment. Sustainable eco-friendly urban planning requires shaping the old and new town centres using ecological approach. Ecological approach takes place by elements such as the geographical location of the city, climatic data, ecological data, development level, the adequacy of local resources, energy sources, infrastructure of the environment, waste recycle capacity. It plays an important role in shaping the city between disciplines, "City Planning", "Architecture", "Landscape Architecture", "Infrastructure Engineering", "Environmental Engineering" and so on.

Environmentally sensitive planning strategies carry the scientifically determined priorities and environmental standards regarding air, water and soil quality, noise etc. In what extent and how the strategy planning, design and implementation stages must be determined. In this context, legal, administrative and financial measures should be considered and established. Improvements in municipal services has emerged the concept of ecotechnology foreseeing the harmonious environmental and technological compatibility in the world. Smart City concept, as well as information cities, digital cities, means using smart systems that creates behavioural changes in urban life and society, which led to the development of economy along with the low carbon release. In the wider sense, both ecological and technological city is managed by an intelligent technological architecture, which requires and Information technology (IT) based management to devise smart cities [22].

3.3. Water area In water area, insufficient supply of urban water resources located near the city is a big problem. Urban pollution threats the quality of fresh water resources and high consumption prevents their ability to regenerate.

3.4. Transportation area For instance, in transportation area, the existing transport infrastructure is not able to carry the increasing number of vehicles with the population, and the time elapsed in the traffic is increasing. Lost time in traffic causes job losses, fall in productivity, increase in transportation costs and an increase in harmful exhaust emissions. The number of traffic accidents is increased, in addition to the life losses, health care costs are increased. There are many solutions that are aimed for easing the daily vehicle traffic. Main objective of the solution is the planning of freight movement in the city or regional scale. The production areas should be separated from the life of the city. Also, the freight transport should be configured independent from the passenger transportation. Logistic villages should be constructed to establish a good way of industry and trade relation. Intelligent Transportation Systems (ITS) are implemented to ensure more efficient and effective use of transport infrastructure integrated with the improved security, electronics, communications and information processing technologies. Road and highway intelligent transportation systems consist of large-scale traffic control and management systems, traffic signalling systems, weather and road conditions and driver

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information systems, large-scale communications systems in road and highway infrastructure, road and highway incident management, electronic payment systems, and passenger information systems.

3.5. Urban services Smart cities need technological development for geographical information systems (GIS) [23], city digital maps, transportation information system, smart signalling system, smart gauges, information kiosks, high speed internet infrastructure, wireless internet infrastructure, 5G GSM technology, intelligent building architecture, renewable energy, citizens’ address and population information system, waste management system, vehicle and infrastructure for the rail system.

3.6. Security issue In security area, population density and income disparities in cities lead to an increase in the crime rate. Timely and appropriate preventive solutions cannot be produced for increased security problems.

3.7. Health care area In health area, especially because of the problems caused in transport, delays may be experienced in emergency response. Control of epidemics in urban areas is difficult due to the population density. Urban life's environmental impact adversely affects public health.

4. Results Republic of Turkey Ministry of Development offers Smart City formation under the following headings: The reliability of the technology, which requires a reliability and health in traditional infrastructure; technology life cycle, in which the evaluation of the speed of technological change and the key competencies are needed to understand; existing platform compatibility, which requires long-term vision of a common information structure and infrastructure; and security, which is required for most of the smart city technologies to collect sensitive data over networks and channels (for example, images from the camera, city dwellers, electricity use and control information). Security issues should be resolved prior to application of the smart solutions certainly by the city and suppliers. Citizens, at home, in transportation centres, shopping malls can easily reach the information by integration of the mobile application options for all applications as a requirement for the Smart City Building [24, 25].

Prado et al. [4] stated that presently, there is no fullyfledge smart cities exist. Over 26 global cities are expected to be smart cities in 2025, with more than 50% of these smart cities from Europe and North America [26]. At the moment with the building of these cities underway in a number of places around the world, smart city examples abound in both the popular media and in academic discussions [4]. In the European Union, and in the world, Smart urban applications are based on eco-technology [7, 19]. Since 1992 European cities launched many projects regarding the establishment of the smart cities. There are many examples for smart city projects in the world (see Table 2). The smart city concept is really a framework for a specific vision of modern urban development. It recognizes the growing importance of information and communication technologies (ICT) as drivers of economic competitiveness, environmental sustainability, and general livability. The smart cities of the future will foster economic growth, improve the lifestyle of citizens, create opportunities for urban development and renewal, support eco-sustainability initiatives, improve the political and representative process, and provide access to advanced financial services [36]. Some of the most remarkable smart city project examples around the world are listed in Table 2 are noncomprehensive and are likely to expand as more cities look to the application of ICT and new technologies as an integral part of their city functions. While all of them share the common theme of adopting ICT and new technologies, the fields of application range broadly from transportation to environmental monitoring. All of the projects for the smart cities are in different stages of development. Some of the cities (e.g. Singapore, Amsterdam) have already implemented systems that are currently in use, while the others in a conceptual or development phase. Most of the cities are reported to be working with major global technology providers such as IBM, Siemens or Cisco; while the others have named local or regional technology providers and research institutions as partners. The first application in Turkey was launched for Yalova city in early 2000, which was conceptually eco-tech Informatics (IT) Valley project. Informatics Valley project was later raised for Bursa, Kocaeli, Ankara and other cities. However, apart from this description, smart city applications were put into parctice in some of the districts in Istanbul Municipality. Many municipalities, such as Fatih and Beyoğlu, use google earth program to implement three-dimensional images of the street. By the smart city transformation program, municipalities initiated management data system and geographical data system.

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Table 2. Smart city project examples in the world

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Beyoğlu Municipality established the smart city automation system. Information database constituted as a base of services for citizens, houses, and streets. Municipality digitized all paper works along with the previously issued archives.

to use for smart solutions and consequently for the transformation of conventional cities into smart cities. Creating an information society is possible by the implementation of these smart solutions to every province in Turkey.

Works regarding the smart cities transformation in Turkey are in progress. Government of Turkey try to transform all cities into smart cities using information and communication technologies in all areas.

Therefore, being smart is not only about harnessing the best ICT to achieve optimum results of environmental and social objectives within the cities. It involves careful organization within and across city agencies and departments to complement new technologies and to form sustainable partnerships with technology

The city must determine the rate of greenhouse gas emissions to prevent climate change and should make policies for sustainable energy consumption reduction. The term carbon footprint is the measure of the harm done to the environment in terms of the amount of greenhouse gases produced by human activities. Although the low level of per capita emissions, the emissions intensity of Turkey ranks 7th in the EU countries. Whereas Turkey releases carbon dioxide to obtain a unit of energy equals to the highest value in Europe. In this case carbon dioxide emission rate of Turkish industry reveals a high dependency on energy sources such as fossil fuels. It could adversely affect the international competitiveness of the state underlined. Turkey is dependent on foreign fossil fuels. Carbon reduction projects can contribute to both regional developments; they reduce dependence on foreign energy, and as well as bring down unit costs of energy. With environmental responsibility and regulations to be adopted by the government, such as the taxes such as carbon taxes, the use of fossil fuels can be restricted. These measures will lead to the usage of the increased level of renewable energy sources and improvement of the environmental quality. Turkey is a very lucky country in terms of renewable energy potential.

5. Conclusion In public services area, the quality of life and local or central government services in the city have decreased due to the steep increase in population. Making a proper definition increases the number of people who want to live in a smart city. Smart city people will find the opportunity to benefit from more cultural and tourist activities. Many financial institutions, trading firms will begin to take place in this city where the city information system works perfectly. So smart city will increase the value of that brand, smart cities, and hence it will be ahead of the normal city. Digital, economical, ecological and social smart cities need participatory planning, infrastructure development, also, simultaneous contribution of public, private, non-governmental organizations and citizens, respectively. Information and communication technologies (ICT) help governors, urban planners, and decision makers for collecting temporal and spatial data

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[20] Giffinger, R. and Gudrun, H., Smart cities ranking: an effective instrument for the positioning of the cities?, ACE: Architecture, City and Environment, 4, (2010), 12, pp. 7-26. [21] Haeckel, E., bd. Allgemeine entwickelungsgeschichte der organismen, 1866, 2, Verlag Georg Reimer. [22] Albino, V., Berardi, U. and Dangelico, R.M., Smart cities: Definitions, dimensions, performance, and initiatives, Journal of Urban Technology, 22, (2015), 1, pp. 3-21. [23] Vestergaard, L.S., Fernandes, J. and Presser, M.A., Towards smart city democracy, Geoforum Perspektiv, 14, (2016), 25, pp. 38-43. [24] Cities, S., Trace analysis and mining for smart cities: issues, methods, and applications, IEEE Communications Magazine, 121, (2013), pp. 120126. [25] Chourabi, H., Nam, T., Walker, S., Gil-Garcia, J.R., Mellouli, S., Nahon, K., Pardo, T.A. and Scholl, H.J., Understanding smart cities: An integrative framework, Proceedings of the 45th Hawaii International Conference on System Sciences, 1, (2012), pp. 2289-2297. [26] Glasmeier, A, and Christopherson, S., Thinking about smart cities, Cambridge Journal of Regions, Economy and Society, 8, (2015), 1, pp. 3-12. [27] Djahel, S., Doolan, R., Muntean, G.M. and Murphy, J., A communications-oriented perspective on traffic management systems for smart cities: challenges and innovative approaches, Communications Surveys & Tutorials, IEEE, 17, (2015), 1, pp.125-151. [28] Black, J., Tara, K. and Pakzad, P., Planning and Design Elements for Transit Oriented Developments/Smart Cities: Examples of Cultural Borrowings, Procedia Engineering, 142, (2016), pp. 2-9. [29] Chakrabarty, S. and Engels, D.W., A secure IoT architecture for Smart Cities, 13th IEEE Annual Consumer Communications & Networking Conference (CCNC), IEEE, 2006, pp. 812-813. [30] Zanella, A., Bui, N., Castellani, A., Vangelista, L. and Zorzi, M., Internet of things for smart cities, Internet of Things Journal, IEEE, 1, (2014), 1, pp. 2232. [31] Pike Research, Global Investment in Smart City Technology Infrastructure to Total $108 Billion by 2020, 2011, http://www.navigantresearch.com

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[32] Allwinkle, S. and Cruickshank, P., Creating smart-er cities: An overview, Journal of urban technology, 18, (2011), 2, pp. 1-16.

Future Internet: Towards Cooperation Frameworks for Open Innovation, Future internet assembly, 6656, (2011), 31, pp. 431-446.

[33] Lazaroiu, G.C. and Roscia, M., Definition methodology for the smart cities model, Energy, 47, (2012), 1, pp. 326-332.

[36] Mahizhnan, A., Smart cities: the Singapore case, Cities, 16, (1999), 1, pp. 13-18.

[34] Calvillo, C.F., Sánchez-Miralles, A., Villar, J., Energy management and planning in smart cities, Renewable and Sustainable Energy Reviews, 55, (2016), pp. 273-287.

[37] Alcatel – Lucent, Getting Smart about Smart Cities – Understanding the Market Opportunity in the Cities of Tomorrow (Market Analysis), 2012, http://www.tmcnet.com/tmc/whitepapers/docu ments/whitepapers/2013/6764-getting-smartsmart-cities-market-analysis.pdf

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DOI: 10.14621/tna.20160303

New Period of Memorial Places? The Possibilities of Architectural Thinking that form Individual and Collective Process of Remembrance Levente Szabó Budapest University of Technology and Economics, Faculty of Architecture, Dept. of Public Building Design Műegyetem rkp. 3-11, 1111 Budapest, Hungary; szabo.l@kozep.bme.hu

Abstract

1. Introduction

The connections between architecture and remembrance are well-known and have several layers of meaning. I would like to express a possible interpretation of this relationship, focusing on some contemporary memorial places in Europe and Budapest, which are strongly based on architectural viewpoints. At the end of the 20th and the beginning of the 21st century, some very impressive examples can be recognized that are not narrative, do not have a direct message or ideological atmosphere, but can involve the spectators to participate in the very complicated process of memory (we can mention Peter Eisenmann’s wellknown Mahnmal-project in Berlin or Gunter Demnig’s concept of ‘Stolpersteine’.) The topic is extremely complex in Central-Eastern Europe, where the history of the 20th century caused a lot of traumas. In 2014, I was the leader of a postgraduate architectural school’s architect group which won a competition for the World War 2 memorial place of Eötvös Lóránd University. We wanted to mark the whole garden of the university instead of just putting a sculpture in it. The sign designed by us is huge (250 m long), and at the same time almost impossibly small (1 cm high); and it was realized on the facade of the university’s historic buildings. The names of the victims and the most important data known about them are carved into these bronze stripes. In 2015, we won the Piranesi Award Honorable mention of the Architectural Days of Piran. By throwing some example projects, I would like to give a possible answer to the very complex question of remembrance and architecture. The new types of monuments seem to start a new period, when the architectural thinking becomes increasingly important in thinking about memorial places.Our research at Budapest University of Technology and Economics helps to discover how architects can capture locality, and how they can build databases to be used from the very first step of the design process. This research is always a multidisciplinary effort joining not only the various branches of architecture, but also involving IT specialists, meteorologists, civil engineers, economists, etc.

The connections between architecture and remembrance are well-known and have several meanings. I would like to express a possible interpretation of this relationship, focusing on some contemporary memorial places in Europe and Budapest, which are strongly based on architectural viewpoints. At the end of the 20th and the beginning of the 21st century, some very impressive examples can be recognized that are not narrative, do not have a direct message or ideological atmosphere, but can involve the spectators to participate in the very complicated process of memory. The topic is especially complex in CentralEastern Europe, where 20th century history caused a lot of traumas, after World War II as well.

Keywords:

Monument; Memory; Common space; Responsibility; Ethical viewpoints

Article history:

Received: 18 April 2016 Revised: 11 November 2016 Accepted: 08 December 2016

I think this theme has always interested architects, however, I got really close to this quite complex and multi-layered problem of architecture and remembrance only when I was the leader of a postgraduate architectural school’s architect group which won a competition for the World War II memorial place of Eötvös Lóránd University in 2014. By 2014, in order to remember a very old trauma that cannot be felt and sensed personally anymore but is still present in an inconceivable and incomprehensible way, it became necessary to fundamentally and truthfully clarify the validity of the results of 20th and 21st century politics of memory manifested in monuments. The process of understanding and discernment was not easy, the process was helped the most by the studying and understanding the monuments. In these studies, we could primarily catch a special architectural way of thinking and means of expression instead of the sculptural or artistic ones. And though these works are very different in genres, but what they have in common is that they become effective in a community space, their power comes from a close symbiosis with the space, and space itself is the medium of remembering. So this writing intends to report the experiences of a

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research work carried out in the course of an actual architectural task, together with the theoretical and practical problems of the realized memorial site. A number of thinkers drew attention to the paradox of erecting a monument, the basic contradiction of which is that a community’s responsibility for their own past and self-identity cannot be delegated to monuments, yet the monument, with its inevitably symbolic gestures, attempts to do exactly this. As Robert Musil said: “There is nothing in this world as invisible as a monument. They are no doubt erected to be seen – indeed to attract attention. But at the same time they are impregnated with something that repels attention” [1]. Those contemporary monuments appear to be successful, and be able to break through the paradox of erecting monuments, which do not want to express anything, but miss any kind of narrativity and heroism, enable several different interpretations and mostly remain almost unnoticed. These are the monuments that can be considered some kind of ‘counter monuments’ according to the terminology of renowned professor of memory research James E. Young. German artist Jochen Gerz, the monuments of whom will be discussed later, said in an interview: „The common feature of art called counter monuments by James E. Young is that they make people disappointed. That is the theme is disappointing since the piece of art does not display the heroic past, but the negative past; and this disappointment is not only the loss of illusions but also tearing the lies, and eliminating fraud. This is not the activity of the higher forces, but starts at eye level with you and me” [2]. Monument, memorial or memorial sign? While the tradition rooted in the 19th century defined places of remembrance primarily with monuments; memorials and memorial signs increasingly came to the fore from the second half of the 20th century. James E. Young accurately distinguishes between monument and memorial place: “Monuments … will refer here to a subset of memorials: the material objects, sculptures and installations used to memorialize a person or thing. … A memorial may be a day, a conference, or a space, but it need not be a monument. … To the extent that we encourage monuments to do our memory-work for us, we become that much more forgetful” [3]. This distinction is not an end in itself, but is also a difference in interpretation which expands the meaning of the traditional concept of monuments, and at the same time highlights the importance of the role of very specific places, often architectural spaces or public place activities being played in memory processes. In Hungary in 2014, the government erected a monument to the German occupation occurred at the end of World War II, depicting the Hungarians as clear and exclusive victims, who, however, were partly collaborators based on historical facts. Instead of the

Figure 1. ELTE memorial place of World War II victims, opening ceremony, MM group, Budapest, 2014 (photographer: Ákos Polgárdi)

always complex and multi-layered complexity of historical facts, the monument offered a radical and painfully simplistic interpretation. However, the vulgar and banal shaping of the monument causes even greater concern, because it has become a caricature of itself rather than a central place of collective memory. The official, state memorial set by the Hungarian government and the semi-public memorial implemented to the initiative of ELTE university community with our cooperation are the two end points of the culture of memory. These much honored thoughts confirmed our initial ambition constantly kept in mind to create a memorial that is open, responsive, induces personal reaction and thus interaction. As architects, we found this aim achievable by primarily using architectural means instead of sculptural or artistic ones (Figure 1).

2. Examples of architecture-rooted monuments But what have we learnt, what can we learn from the good examples that approached the complexity of remembrance processes mainly with architecturerooted means? I would like to mention a few very different examples, which, however, have in common that they try to make the act of remembrance the possibly most personal and in this way experiencable by using space and its designation, as well as the continuity of perception and reception. They do not suggest any message, they are not clear and certainly do not represent anything, for this reason, they seem to be appropriate memorials. They have in common that they are often confusing, they are not monumental, and they create the broadest possible associations. They do not

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want to warn, teach or explain, but they teach how to remember, in the noblest sense of the word.

2.1. Text in space The remembrance of World War II and other 20th century dramas associated with massive losses naturally led to memorial sites formed by listing and threedimensionally displaying the victims’ names and data. In these examples memory itself is very specific (if we think about a direct remembrance of individual persons, families and fates); at the same time the huge amount of displayed names is reinterpreted, and as an abstract text it becomes a universal dramatic sign as a spacedefining element for several memorials. In Prague, Czech Republic the name, date of birth and death of 77,297 Czech and Moravian victims killed in Theresienstadt (Terezin) was hand-painted on the wall of Pinkas Synagogue. The unimaginable amount of names covers the entire space, more precisely lines it. From this flow of text created by Václav Boštík and Jiří John from 1954 to 1959, only the red letters of the alphabetically arranged family names stand out. From a distance, the density of names and data, which appears in the space in an incomprehensible amount, apply only as the texture of the walls. However, when having a closer look, the readable and delimited body text affects visitors as a dramatic memorial sign of individual and family tragedies. Besides the clear reading of certain names and dates in a close up view, from a distance only the text’s specific ornament can be sensed in the space, as a total marking and transubstantiation. This wellknown example is not unique. Already in 1949, five years before the Prague example (!) the survivors placed marble plates with engraved names of 894 local victims of the Holocaust on the inner wall of the synagogue of Gheorgheni (Gyergyószentmiklós), a small town in the territory of today's Romania. In both cases, the textface, created by the mere listing of names and data, lines and radically transubstantiates the architectural space. While the former examples were realized in a devastated community’s local spaces once used by this community, it is worth mentioning here a famous memorial in Washington DC. Based on the winner concept of young architect student Maya Lin, the memorial of the 58,196 US victims of the Vietnam War was completed in 1982 in Washington. The V-shaped granite wall that intersects the park is a strong topographic intervention, creating a designated new space of remembrance, placed in the park, yet separated from it. The wall, which was created as a section of the terrain, displays the names of the war victims, grouped by year and alphabet, from 1959 to 1975. The names can be read at eye level, and – by the site action of rubbing them to paper or by depositing

Figure 2. Pinkas Synagogue, Václav Boštík and Jiří John, Prague, 1954-59 (photographer: Øyvind Holmstad)

souvenirs – we can talk about personal and collective memorial space at the same time. The transformation of the park’s topography has created a sign identical with the park itself, and the powerful flow of text listing the names of the soldier victims appear by covering this sign. Also, the concept of the “stumbling stones” (Stolperstein) created by Gunter Demnig is based on the text, which, however, is hardly noticeable but still creates dramatic signs. For many years, the German artist has been placing 10x10 cm size cobblestones wrapped in copper sheet in front of the former residence of the victims, indicating their name, birth and death data. From 1996 to date, over 50 thousand pieces were laid across Europe. The artist's calendar is pre-filled months ahead, and the network of small signs becomes denser by time. They are barely visible still clear in situ memorial signs, the power of which is given by spatially identifying and indicating the former residence with the exact data of the victims (Figure 2).

2.2. Progress in space The essence of some memorial projects, basically displayed in public places, is the implementation process itself. These examples address the local community who are intentionally involved in the realization of the monument either through their active work or even with the promotion of their reflection. These pieces of art cannot be unveiled, handed over or completed from one moment to the other, the act of remembrance and the completion of the works overlap in time, so they clearly interact with each other. The monument, designed by Jochen Gerz and Esther Shalev-Gerz, realized in 1986 Harburg, Germany was a 12 m high lead coated pylon that became complete with a single text – calling passers-by to protest against war, violence and racist fanaticism. This notice could be

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satisfied by engraving the messages in the column using steel styluses placed next to it for this purpose. When signatures covered the surface up to the accessible level, the pylon was lowered into am underground shaft prepared in advance. By 1993, i.e. by the end of the seven-year process the monument was lowered below ground, and today it is only a sign in the pavement. Here, the purport of the monument is memory itself that is the remembrance of a seven-year long process jointly carried out. Jochen Gerz’s square of the “Invisible Monument” also carried out a radical concept. Gerz and his colleagues collected the names of all German settlements where Jewish cemeteries were in use before World War II. Then, from 1989 to 1992, they removed the paving stones of the alley leading to Saarbrücken Castle at night in secret, engraved the name of one settlement to each stone and placed back them with the inscribed side facing the ground. The square was named after the “invisible” placement of the 2,146 cemeteries’ names. The uniqueness of the monument is that its message is not primarily conveyed by the basalt cobbles but more on word of mouth: the concept is not obvious when standing on the square, the settlement names cannot be read, paradoxically, the meaning is reinforced by the hidden nature of the memorial. Picture 7–9: Harburg Monument against Fascism, Jochen Gerz and Esther Shalev-Gerz, 1986 (photo: (7));Invisible Monument, Jochen Gerz, Saarbrücken, 1989-92 (photo: Martin Blanke (8), Jochen Gerz(9))

2.3. Installation in space Extremely exciting are the examples that are able to combine the artistic and sculptural approach with the architectural one. In these model-like, powerful works the monument itself is a visual art project, essentially an installation, the spatial and space defining position of which, however, creates a memorial with architectural approach. In 1956, a revolution took place in Budapest, which aimed at the liberation from the Soviet occupation and communist dictatorship. The peaceful demonstration began on October 23, but the protesters received a brutal volley answer from the governing power, shooting people from the top of the surrounding houses on Kossuth Square in front of the Parliament. More than 70 people died and hundreds were injured in the fusillade. Until the beginning of the regime change in 1989, remembering this tragic event publicly was not possible. In 1991, in one of the buildings overlooking the square József Kampfl sculptor and Ferenc Callmeyer architect created a low-key, yet dramatic memorial by installing dozens of steel spheres on the walls, resembling enlarged bullets. In this case, the creation of

a sculptural installation and the indication of the building and the square were realized simultaneously. In Berlin, a memorial to the book burnings committed by Nazis was completed by the design of Micha Ullman in 1995. This project was an installation again that created an underground room surrounded by empty bookshelves. This strange, negative space can only be seen through the glass slab placed at the pedestrian level. It is barely noticeable at daylight, while works as an illuminated public plaza sign at night. The constructed room is actually a mock-up, which displays the symbolic library space deprived of the destroyed books. Seeing the installation from above, from an unrealistic perspective raises the project to a specific spatial position, in addition, it places all this to a secular public environment. In 2001, a memorial was erected in Leipzig to the 14 thousand deported and murdered Jewish victims at place of the great synagogue burnt down in 1938 (specifically on top of its remaining foundation walls). The project – designed by Leipzig architects Sebastian Helm and Anna Dilengite – consists of 140 bronze chairs standing at place of the former synagogue’s chairs. A special installation was implemented on the small square, evoking the interior of the former synagogue and at the same time creating a public place situation that inclines reactions in which these chairs which function both as sculptures and as household objects (people often sit on these chairs to take a rest or sunbath). The personal approach of remembrance is the key to success here that lies precisely in such gestures: when the monument allows direct reception and ordinariness just as much as solemn community actions. In World War II, during the German occupation a horrible series of events were committed by the German-collaborator battalions of the Arrow Cross, who gathered and took the Jews to the Danube and shot them into the river. This tragedy was commemorated in the heart of Budapest in 2005 with the memorial designed by Can Togay and Gyula Pauer. Following their concept, real-scale, life-like bronze modeling of 60 pairs of men's, women's and children's shoes were placed and fixed to the paving stones of the wharf. The representation is almost brutally naturalistic and narrative, yet, an indication of the specific location has created such a dramatic memorial, where the urbannatural sight of the wharf and the river flowing under the viewer's feet raised the clarity of the installation up to a universal semantic field in an unambiguous and good sense (Figure 3).

2.4. Space as a memorial Perhaps the best known example is the Holocaust Mahnmal in Berlin, completed in 2005 by the design of

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around the blocks). We should take critic Nicolai Ouroussoff’s side, who wrote: "this is able to convey the scope of the Holocaust's horrors without stooping to sentimentality – showing how abstraction can be the most powerful tool for conveying the complexities of human emotion” [4] (Figure 4).

Figure 3. Memorial of the Great Community Synagogue, Sebastian Helm and Anna Dilengite, Leipzig, 2001 (photographer: Johannes Ackner)

The examples that break with memorials conveying heroic and clear message of past, but are open to interpretation and reception could be listed long. I chose these few works, quite different from each other, in order to illustrate the richness that has appeared in tools and creative approaches during the past decades; and also to argue that the vast majority of these solutions results from spatial architectural concepts strengthening the sense of place. It seems that these examples implemented in recent decades have been a kind of paradigm shift in memorial architecture.

3. Memorial in the university garden

Figure 4. Holocaust Mahnmal, Peter Eisenmann, Berlin, 2005 (photographer: Jean-Pierre Dalbéra)

Peter Eisenmann. Undoubtedly, having this huge memorial realized right in Berlin, the former and today’s German capital is of a symbolic importance. The concrete blocks have different heights – variable from 20 cm up to 4.7 meters – but their 2.38 x 0.95 meter footprints are uniform in size, totally covering 19,000 sqm of area in the political and cultural center of the city, next to the Brandenburg Gate. Eisenmann’s work, as it continuously changes when wandering around it, made space itself the memorial that induces remembrance. It is a blood-edge architectural composition offering a number of associations: from tombstones to a variety of urban situations, e.g. one can find the topography in ruins, the houses and streets of a destroyed city in this monumental work, as of course many other things. But exactly this is the point: interpretation, even usage remain fairly personal. In addition to the reception of a dramatic effect, the profane use of public spaces is just as present on the memorial site (I have seen children playing hide-and-seek, riding bike and running on and

In 2014, I was the leader of a postgraduate architectural school’s architect group which won a competition for the World War II memorial place of Eötvös Lóránd University [5]. We wanted to designate the whole garden of the university instead of just putting a sculpture in it. The sign designed by us is huge (250 m long), and at the same time almost impossibly small (1 cm high); and it was realized on the facade of the university’s historic buildings. The names of the victims and the most important data known about them are carved into these bronze stripes. In 2015, we won the Piranesi Award Honorable mention of the Architectural Days of Piran, and the project was published in several forum [6, 7]. It was a special job, actually was a gift of fate, from the preparation of the competition entry to the actual realization. It was a special community planning project for the young architects and masters of the postgraduate architectural school of great tradition, and at the same time it offered a unique opportunity to realize a new type of memorial in Hungary too. This new type, basically rooted in space and scale that are basic architectural concepts, has become well-known in Western Europe in the second half of the 20th century and in the 21st century. Our memorial sign – after studying the examples cited earlier – tried to display their universal meaning and forms of expression in the historic and spatial context of Trefort-garden. The examined examples – as we could see – have in common that they are not primarily independent signs, but they all mark something. Thus, their value as a sign is not valid in itself but only in their context with the designated space and location. Eötvös Lóránd University is one of the most important universities of Hungary with the largest traditions, which

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Figure 5. ELTE memorial place of World War II victims, opening ceremony, MM group, Budapest, 2014 (photographer: Gábor Sióréti)

in 2013 decided to search for its former academic citizens who were exiled, deported, and fallen victims to World War II and to commemorate them. And not at an abstract place, but there where they once attended as teachers and students: in the Trefort-garden campus located in the heart of the capital (Figure 5).

3.1. The location Trefort-garden, the courtyard of the university, or its private public space if you like, is a location that primarily serves as a passage or circulation area today, it is by no means a peaceful place for meditation. The garden is surrounded by significant, listed historic university buildings, predominantly appearing with clinker brick architecture. In our opinion, only a monument has a chance that becomes invisible part of this environment and may become a dramatic sign at the same time – depending on the openness of the receiver. Today, already six different statues or plaques are located in the garden. But seemingly they are almost invisible, despite their large size and central position. Our intention was not to increase the number of monuments in the garden, but we tried to make the

garden itself the place of remembrance. To leave a sign somewhere or to mark something – is not the same. We thought that designating the same place that was used by the former victims or by today’s academic citizens can give a unique chance for the planned memorial. The place of remembrance can be the everyday space of past and present university life; and achieving this was our basic goal. Scale become the keyword, since the garden is of a considerable size, but the sign should relate to the whole. Therefore our sign became huge and at the same time almost impossibly small. An intervention in Trefortgarden, which is total and almost imperceptible in parallel. We hope the memorial will be able to objectify the unique and dramatic loss of the university associated to the specific era, without placing it in the focus of the weekdays of today's academic citizens. It allows people either to keep a distance (in this case it remains a hardly perceptible stripe on the wall), or to lean close, to understand and remember (when the massive quantity of legible names and data, as well as their spatiality encompassing the entire garden establish a connection to the memory of the victims, more direct than any other sign or expression) (Figure 6).

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Figure 7. ELTE memorial place of World War II victims, MM group, Budapest, 2014 (photographer: Ákos Polgárdi)

Simplicity and openness were considered essential. On the one hand, the increasing number of the victims’ name and data, to be found in further research, can be continuously added to the memorial. On the other hand, also the reception of the memorial was planned to be progress-like: this means either the reading of names and data, walking along the wall or the occasional, intentional or accidental encounter with newer and newer names. The victims’ names, birth and death date, place of death and their status create a thickening or thinning spatial text in a complete or fragmented, incomplete form depending on the research results.

Figure 6. ELTE memorial place of World War II victims, site plan, MM group, Budapest, 2014

3.2. The sign Bronze rods with a section of 1x1 cm were installed into the mortar joints of the two brick buildings standing on the campus area located between Múzeum Boulevard and Puskin Street, with the total length of 200 meters, using 180 kg bronze. Names and data of 6 mm high letters were engraved in the 1 cm high bronze stripe with the university’s own purpose-designed fonts, in a total of 9,454 characters. The memorial sign consisting of a single line, contains 198 former academic citizens’ name and personal data (date of birth and death, place of death and the status of the victims) that have been found so far, distributed randomly but homogeneously.

The 1 cm high bronze stripes are integrated in the mortar joints (to the plane defined by the mortar surface of the joints), this way they became part of the buildings. The victims’ names and data are engraved in this bronze surface. There is no order: our concept neither distinguishes between victims, nor groups them in one place, but it illustrates in space and – by means of going along – also in time that this is about an individual tragedy and a loss of community at the same time. On the memorial sign running linearly, a simple sentence appears at one place, which is placed inversely to the brick plane instead of the mortar’s plane, protruding out of the bronze base plane. This sentence, defining the memorial itself, can be read in Hungarian, in English and in Braille: „In memory of all those university citizens who have fallen victim to the anti-Jewish laws, Holocaust and World War II. ELTE, 2014” (Figure 7).

3.3. Typeface as space creating element As we started to deal with the details of implementation more and more deeply, it became obvious that typeface has a special significance. Not only because the memorial’s typography is determinative by its nature, as the monument is primarily based on indicating names

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and data. Rather, because a vast majority of the victims did not, could not have any tomb to engrave their name in. So our thinking about fonts and typography had to start from this responsibility. It would have been obvious to use the fonts typical of the era or the ones that could be found in the university documents of the time. The era of World War II was perhaps the most important, revolutionary period of 20th century typography, during which sans-serif fonts have appeared and become canonized, and the subtypes were elaborated that exist even today. In the 20s and 30s, the geometric and humanist grotesque typefaces appeared in parallel. This progressive turn is presented in the typeface of the memorial, designed by Ákos Polgárdi. The most restrictive criteria were the formal aspects, since the letters were engraved into the bronze surfaces with CNC milling machine. In this case, CNC milling presented two fundamental challenges. On one hand, the accuracy of the end mill and the fineness of the created form – compared to the size of the font – could not be perfect; on the other hand, the plane of the text got behind the supportive plane, making it difficult to read because of the resulting shading. This effectively made it necessary to apply the aforementioned grotesque (i.e. sans serif) typeface, since any decorative element (here the serifs) would have created further stem connections, making the characters hardly recognizable due to the shadow effect. During CNC milling, manufacturing custom-made tool heads made it possible to create the desired, relatively large depth despite the small font size, this way to achieve the necessary plasticity and legibility. The machine had been working for 20 days, following the path set by the typeface, until it milled the names and data of the 198 victims into the bronze surface.

remembrance and architecture, through some different architectural concepts. New types of monuments seem to start a new period, when architectural approach becomes increasingly important in thinking about memorial places. Why has the location, architectural and urban space become and continue to become the scene of remembrance, and why the fact of designating becomes increasingly important instead of the sign itself? Our memorial was realized in Budapest already one and a half years ago, and it was a result of a process of uplifting experience that made it possible for us to carry out a research on contemporary monuments with architectural approach, and at the same time it enabled

Figure 8. ELTE memorial place of World War II victims, steps of the process, MM group, Budapest, 2014 (photographer: Albert Farkas)

These were not in the least merely abstract professionaltechnical issues, but they increasingly directed our attention to scale, one of the most fundamental questions of memorials. Zooming, the possibly most radical realization of getting close, also led to the thoroughness of elaboration (Figure 8). The sign, visible and tactile on two buildings of Terfortgarden, became one with the buildings on which it was installed. By rejecting any new formation and leaving everything to a single rule, i.e. the strict limitation based on the height and depth dimensions of the chosen brick joint, we have not done anything other than followed the frames set by the former builders. And all this proved to be decisive. We had to pay attention to nothing else except following this rule (Figure 9).

4. Conclusion By throwing some example projects, I would like to give a possible answer to the very complex question of

Figure 9. ELTE memorial place of World War II victims, steps of the process, MM group, Budapest, 2014 (photographer: Nóra Szigeti)

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us to take a commitment as practicing architects by implementing the memorial for Eötvös Lóránt University, Budapest.

Nomenclature Boštík, Václav Callmeyer Ferenc Demnig, Gunter Dilengite, Anna Eisenmann, Peter Gerz, Jochen Helm, Sebastian John, Jiří Lin, Maya Musil, Robert Ouroussoff, Nicolai Pauer Gyula Polgárdi Ákos Shalev-Gerz, Esther Togay, Can Ullman, Micha Young, James E.

3 4 1, 3 5 1, 5 2, 4 5 3 3 2 5 5 7 4 5 4 2, 3, 6

Founding source During the conduct of the research and the preparation the author didn’t receive financial support.

References [1] Musil, Robert, Monuments, in Selected writings by Robert Musil (Hungarian translation: Bán, Zoltán

András), Kalligram Könyvkiadó, Slovakia, 2000, p. 335.

Bratislava,

[2] „A nézők ellen vagyok” (“I am against the spectators”, in Hungarian) – interview with Jochen Gerz, http://m.magyarnarancs.hu/kepzomuveszet/anezok-ellen-vagyok-77568, 2011/46. (11. 17.) [3] Young, James: Az emlékezet szövete (The Texture of Memory, in Hungarian), Enigma, Vol. 10 (2003) Issue 37-38. [4] Ouroussoff, Nicolai, "A Forest of Pillars, Recalling the Unimaginable", New York Times (May 9, 2005) http://www.nytimes.com/2005/05/09/arts/desig n/a-forest-of-pillars-recalling-theunimaginable.html [5] The memorial was designed and implemented by the MM Group: Ildikó Bujdosó, Dénes Fajcsák, Eszter Lukács, Nóra Szigeti architects, a students of ”ÉME Master School” Cycle XXII, János Roth and Levente Szabó architects, masters of ”ÉME Master School”, Ákos Polgárdi graphic designer, Farkas Albert sculptor. [6] Krisztina Somogyi, Grădina Trefort. Un monument în imediata apropiere: Trefort-Garden. A monument in personal proximity, ZEPPELIN 2015, pp. 58-62. [7] Péter György, How to Practice Memory that Takes Responsibility: Péter György in conversation with Zsuzsa László about his recent works on memory cultures, In: War of Memories. A Guide to Hungarian Memory Politics (Dóra Hegyi, Zsuzsa László, Zsóka Leposa), tranzit.hu, Budapest, Hungary, 2015. pp. 109-131.

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DOI: 10.14621/tna.20160304

New Dhaka – Aspiration as a Key Design Element in Urban Planning Paolo Bertolotti BBVREATIVE 10001 New York, NY, USA

Abstract

1. Introduction

Among the many challenges that Urban Planning faces in developing countries none is more readily solved and yet more often ignored than the perception and aspiration of belonging to something meaningful. Mega developments, utopian visions and unfulfilled promises mired in bureaucracy have put a bad taste in the inhabitants of major 3rd world cities. A city designed around the inhabitant’s aspirational needs is far more significant and has more longevity than any other smart city urbanistic trend. So what is the correct approach and desired perception needed to achieve a better quality of life by incorporating aspiration as an urbanistic design element? This project case study, of a 2,400 acre development called New Dhaka, in Bangladesh, proposes an answer to such a question.

Although 'smart cities' are undeniably the wave of the future, transplanting this technology directly to developing nations is a mistake. When you compare the wealth and stability of today's model smart cities (i.e. Songdo, Masdar, Vienna etc.) to major developing cities (Addis Ababa, Port-au-Prince, Dakar etc.) there is a chasm of differences and realities that will not allow current smart city technology to flourish. We cannot include smart sewers that analyse a city’s public health because that assumes that everyone has access to clean food & water. We also cannot include a bike-share system since not everybody has a permanent address to which they can register a credit card. Lastly, and perhaps most significantly, a smart city requires a ‘smart government’, translation: an open minded, forwardlooking, efficient and transparent functioning governance. A 'smart city' in a developing country needs to be a 'smart indigenous city'.

Keywords:

Urban planning; Open source; Giving back; Compact growth; Bangladesh

Article history:

Received: 19 July 2016 Revised: 14 November 2016 Accepted: 09 December 2016

In 2011 we were contacted by one of the largest private land owners in Bangladesh (Bestway Land Properties Ltd.) to help develop such a project. The founder of this company, a self-made man, had lofty goals for his company and the people of Dhaka. Riding the wave of growth that has been spreading throughout several emerging nations, he wanted to build a new city on the periphery of the capital. Having no real infrastructure to build into within Dhaka (power, water, sewage) he chose as many other new cities popping up around the globe have, to build new. He accumulated 3,000 acres with an additional 2,000 in reserve along a newly constructed highway linking it to the international airport in Dhaka and less than 15KM from downtown. Timing the boom/bust in real estate today he stands ready with several thousand small investors to begin construction. When we first arrived in Dhaka, we thought that we carried with us most of the answers to our client’s vision in the form of a sophisticated ‘smart city’ concept.

___________________________________________________________________________________________________________ P. Bertolotti “New Dhaka – Aspiration as a Key Design Element in Urban Planning”, pp. 26–33

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However, after one week of being on the ground, of talking and visiting with our counterparts, we realized that nothing could have been further from the truth. The positive part is that Dhaka, and Bangladesh, is growing. In fact, the World Bank predicts that Bangladesh’s GDP will grow at an astonishing 6.7% in 2016, making it one of the world’s fastest growing economies. Just to put that in perspective, the European Union is expected to grow below 1% in 2016. Also the median age in Bangladesh is 26 years old, meaning it’s a young and strong population ready to take the nation forward for many years. Again, to put that into perspective, the median age in the European Union is 42 with a negative birthrate to boot. The negative part is that Dhaka is growing in an unplanned and haphazard way at best. The streets are busy with commerce, with unlicensed merchants vying for sidewalk space to sell their wares, fruits, homemade food, recycled electronics, furniture, clothes and even pop-up butcher shops. Needless to say, none of this is planned or remotely close to code, it just happens organically, including the bribe the policeman takes to allow it to continue. There are parts of Dhaka that are free of this, the wealthy areas, but by and large most of Dhaka is unplanned, unorganized and every man, women and child for herself. Then there is the traffic that is paralyzing at times, with crowded buses scrapping with cars, rickshaws and pedestrians for a small clearing in the roadway. People bravely cross the street, even highways, at any point that is convenient to them, expertly dodging oncoming traffic in a seemingly ceaseless game of dare. Stop lights, the handful that exist in a metropolis of almost 18 million people, seem not to matter even on the oddchance that they are working. Power and phone lines weave throughout the city looking like an endless spider’s net, with coiled lines attached on top of each other. Although the nice parts of town have enclosed sewers, the rest of the city is a mix of semi covered to fully open sewers. Sprinkled amongst all this is an unusually high number of dormant construction sites half way through completion, leaving many structures half built. Now add to this picture the fact that Bangladesh held the unwanted honor of being the most corrupt country in the world, according to the Global Corruption Index [1], from 2001 to 2005, only to be recently displaced from the bottom when the list was expanded to include countries such as Haiti and Chad. Also, to add insult to injury, The Economist ranked Dhaka as “The Least Livable City in The World” [2] in a 2012 survey. As an urban planner, the impact of this reality forces you to discard whatever presupposed 1st world design

solutions you carry with you. Knowing full well that our job description does not include government or city policy, we are left with having to rethink a city from a new set of minimum values. The idea of placing magnetic sensors under parking spaces to alert drivers on their smartphones to an available space is no longer relevant or even part of this reality, instead we have to start with the basics, with hope and aspirations. How do you design hope, how is that possible? We started by studying our target market, by listening and researching, and we learned a lot. Citizens of Dhaka are not different from any other citizen in the world, they want to feel part of their city, and they want to be part of something meaningful. How we feel about a place greatly influences the perception, both internally and externally, of the city we live in and its success. So we designed something that allows people to belong to something bigger than themselves.

2. How to do it First of all, it is important to note that New Dhaka is a private vision, from a developer that is more concerned about helping rather than just maximizing profit alone. It always takes someone with a purpose to initiate things, to be the starting point for change. Inspired both by our client’s vision and the headwinds of a generational shift towards altruism [3] that we formulated the following concept for our new city: Help yourself while helping others. At the core of this simple statement is the concept of belonging, something that is sorely missing on the streets of Dhaka. Belonging is an emotional need that has giving and receiving at its core. In branding terms that is our ‘positioning statement’, that is our differentiator. All design decisions for our city going forward will be checked against that statement. How can our city grow while also help others? We have boiled it down to 5 basic elements: • That it is an Opens Source City • That it is an Environmentally Sound City • That it is a Spatially Compact Growth City • That it is Business and merchant friendly City • That it is a City that gives back

2.1. Open source Open source is a modern phenomenon, originating with software code development, easily scalable to other tasks and has come to symbolize “the open source way that embraces and celebrates the open exchange,

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collaborative participation, transparency and community-oriented development of projects ”[4].

• The user has the freedom to redistribute the file to anyone for free, anywhere in the world.

Additionally, the growth of blogs and social media have become the central point of information distribution enabling an ever-growing pool of participants to both benefit and contribute in knowledge.

• The user cannot sell or profit from a file that has been downloaded from the New Dhaka Open Source library.

It is with this spirit that the New Dhaka Open Source (NDOS) is formed to help property owners build by offering a central point for information, discussions and an always growing collection of buildings documents for them to use, as they like, for free. The construction plans will be offered as printable digital documents (such as pdf) and will have been approved for publishing prior to being posted in the open library, similar in concept to how Wikipedia works. It will feature a General Public License (GNU) agreement, as typically found on open source software, specifically written for NDOS that would include, among other, the following points: • The user has the freedom to use and modify the construction documents as long as it does not alter its structural elements. • If the user adds or modifies the construction documents in a significant way, they will be added to the NDOS library upon filing for permit.

Using NDOS documents and information will also have significant side advantages: • Reduce the cost of construction by reducing material waste and design mistakes. • Reduce the time required in the building process. • Increase life / safety standards. • Compliance to Bangladeshi and New Dhaka building codes. • Create a more knowledgeable and informed citizenry. All of the latter points are also things that will have a significant positive impact on the economy of the city. Owners or builders will still be required to submit plans for building permits regardless if downloaded from NDOS or not. However, non-altered NDOS plans will process much faster.

Figure 1. From Alejandro Aravena, free online design documents for low income housing ___________________________________________________________________________________________________________ P. Bertolotti “New Dhaka – Aspiration as a Key Design Element in Urban Planning”, pp. 26–33

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Figure 2. Section through the New Dhaka Spline system

Our city will also participate in a growing partnership of 'open source cities' around the world that are starting to share information and solutions that they have successfully implement in their own city. Open source is agreeing to be part of a bigger pool of information, one in which New Dhaka will take from other leading cities as well as give back to them. In a very timely way, this year’s Pritzker prize winning architect, the Chilean Alejandro Aravena, has recently announced that he will make available for free a handful of his low-income housing projects which, coincidently, seem almost custom made for the necessities of the Bangladeshi homeowner (Figure 1). It’s a great start to our open source library. NDOS is the first vital step in raising the aspiration of its new residents, allowing them to achieve something that they would otherwise not have been able to do. This is the foundation of our city, help yourself while helping others.

2.2. Environmentally sound The reality of the environment in Dhaka is front and centre. While we are concerned with the impact of rising sea levels, we have to mitigate this against the reality that Dhaka is estimated to be growing by 300 to 400 thousand people a year (United Nations estimates and projections). Not to build is not an option. We just have to build smarter.

One of the major concepts behind our city is the New Dhaka Spline (NDSpline), proprietary to Bestway Group, which is an integrated sidewalk, sewage, storm water, electrical and communication lines system that is easy to build, install and maintain. The NDSpline (Figure 2) is an easily expandable prefabricated modular solution to the critical component of proper sewage, water and power distribution. Once installed there is no further need to excavate for maintenance or repair, eliminating road closures that snarl traffic and services for the city. The NDSpline also removes the need for manholes since all the services are easily accessible under the modular panels of its sidewalk. Because the NDSpline is adjacent to property lines, and not in the middle of the street, it makes linking new construction into the utilities easier and more economical. Ultimately, the NDSpline can come in different sizes, such as for avenues and secondary streets, so as to handle the proper volumes. The NDSpline can also be exported to other cities, such as Dhaka itself, where there is need for efficient infrastructure distribution. For designated areas, such as major avenues and thoroughfares, we have developed the NDWalkway (Figure 3) system that stands on top of the NDSpline. It serves three major functions: •

Covered walkway and street crossings.

•

Rain Harvesting.

•

Market space.

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Covered walkway and Market Place aspects of the NDWalkway will be covered in the sections 2.3 Compact Growth and 2.4 Business Focus respectively. The Rain Harvesting aspect is, however, very much related to the environmentally sound aspect of this section. According to the World Health Organization (WHO), 60% of the population in Bangladesh is exposed to unsafe drinking water and the problem continues to be compounded by rising salinity in the water, empty wells and the natural occurrence of arsenic in the ground water. Although the local government is trying to improve rainwater capture, the progress is far too slow and on too small of a scale. To help mitigate this, we are building the canopy on the NDWalkway to act as a large rain catching surface to funnel the rain water into large reservoirs. We propose using the current “water ATM” technology in use in India [5] to filter and distributes the harvested water through public dispensing machines, similar to a bank’s ATM. Bangladesh has learned lessons from past disasters and has developed a relatively effective flood mitigation

policy and disaster control framework. New Dhaka will conform to all the latest flood plain zoning and 100-year flood building recommendations, including not allowing residential living quarters on the ground floor, which will save the loss of property from the yearly monsoon flooding as well as minimize the disruption of the daily lives of those affected. The urban planning will maximize cross-flow ventilation, taking advantage of naturally occurring winds and optimizing sun angles. While we cannot solve Bangladesh's energy deficit, we will zone in requirements for solar panels, both for home use as well as public water filtration. We are working on a clever way to build out new waste water sewage so that it is modular and quick to install and are also looking into incorporating city-wide water filtering technology that is both affordable and realistic to guarantee our citizens clean water [6]. Being environmentally sound and focused is the most visual and direct way of helping others, it is a daily reminder that we care about more than just ourselves.

Figure 3. The NDWalkway, with the rain harvesting roof and water distribution point ___________________________________________________________________________________________________________ P. Bertolotti “New Dhaka – Aspiration as a Key Design Element in Urban Planning”, pp. 26–33

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Figure 4. Central node of New Dhaka

Figure 5. Prefab market units along the NDWalkway ___________________________________________________________________________________________________________ P. Bertolotti “New Dhaka – Aspiration as a Key Design Element in Urban Planning”, pp. 26–33

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2.3. Compact growth Also known as 'Smart Growth', it is the urban planning concept, in line with the International Guidelines on Urban and Territorial Planning (UN, Habitat 2015), that concentrates the city in easily walkable areas while reducing infrastructure sprawl. There are many advantages for a compact growth model for New Dhaka, which include communities that grow together over time creating meaningful socio-economic relationships. Compact growth also creates centres, or nodes, that become catalyst for businesses and a natural center for the town. Smart growth is based around the concept that the city grows organically in all directions based on its trade, geography, social and economic forces, letting the city expand at its own pace with clear zoning that controls the expansion of infrastructure, buildings and opens spaces. New Dhaka is a radial city in order to optimize sprawl and future expansion. The city in its final stage will have will have multiple interdependent radial ‘nodes’, each with a main function: • Business District • Civic District • University District • Hospital District Each node will have autonomous sectors, with local residential, commerce and civic capabilities (Figure 4). The compact growth node based layout significantly minimizes distances for commuting and will allow us to implement and efficient Rapid Bus Transit system (BRT). The BRT will be focused on the higher density main avenues and will not face any stoplights along its route because it will always be turning left thanks to the clockwise round-about. Additionally, the main avenues will have dedicated sections of the road for nonmotorized vehicles. In New Dhaka walking will be the preferred means of travel, the interior areas of the node place emphasis on pedestrian connections, by placing key civic components within acceptable distances and with covered walkways along major arteries. Our zoning would mandate foundations that can withstand future building of additional floors, so that as a family expands their property can grow respectively. According to Arif Hasan, a visiting fellow at the International Institute for Environment and Development, this would only add 15% to the initial cost of the foundations [7].

In order to achieve the goal of strong connected communities within the main node, mixed-use zoning will play a key role in the compact growth model, letting low income families live-work in the same place while middle to high income families can commute to work. Compact growth is designed to grow as the city grows, not taking any more than it needs along the way, respecting existing neighbours as well as their environment. Respecting yourself as you respect others, a continuation of our central theme.

2.4. Business focus There is no meaningful successful and independent urban planning without the ability for the city to generate and sustain its own economic existence. Our economic foundation is that all levels of commerce are welcome and encouraged to flourish, from the street vendor to international firms. As per the Adis Ababa Action Agenda of 2015 (from the United Nations Third International Conference on Financing for Development), we see this urban design opportunity as a “catalyst for sustained and inclusive economic growth that provides an enabling framework for new economic opportunities” [8]. Investing in youth. There is a strong competition amongst cities to attract the young and tech savvy workforce for obvious reasons, they offer the most promise for economic growth. It is with New Dhaka’s stated commitment to Open Source Design that we plan to attract and retain like-minded young tech workforce. Investing in locals. We are also cognisant of the impact of street merchants to the local economy and we welcome them instead of zoning them out as eye sores. New Dhaka will incorporate a street merchant friendly modular solution in its NDWalkway (Figure 5) and plazas, with access to both electricity and water. In coexistence with these two levels of commerce we plan on sequentially building an international business hub at the center of the main node. The premise to all of this is that big business will want to be here because the young workforce, empowered by the altruistic vision of the city, will be here.

2.5. Give back It is in the human spirit to feel connected to a bigger group, to belong, and this is currently reflected in the market place by a new business trend that is quickly gaining more popularity; the one-for-one business model. It is a perfect mix of commercial and social value, each reinforcing the other. The premise is simple, a company promises that for every product sold they will donate an equal one to charity. Although we cannot

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replicate that when the product is a city, we can certainly do something proportionally, such as for every ten units of new NDSpline that is built in our city, we will build one unit of NDSpline in Dhaka. The important part in this formula is the knowledge of having helped, that as a result of us building New Dhaka, Dhaka has also benefited. It works at the level that it allows our citizens to feel as though they are part of something bigger than themselves. This implies a relationship with our city that is bigger than shelter alone. We will also form the New Dhaka Urban Research Institute (NDURI), an urban planning research laboratory that will track all the urban aspects of New Dhaka for the purpose of optimizing and improving its function. Emphasis will be place on local researches, although foreign visiting researchers will be welcome. Additionally, NDURI will host an annual international conference on urban planning for developing countries called DhaCon. Bestway Group Inc. will fund and promote the event. In short, New Dhaka wants to participate and contribute to the conversation of our urban future with real interventions.

3. Conclusion The beauty and immense potential of one of the largest cities in the world is currently lying dormant. With the onset of current technology and instant communication, we can build a city that unleashes the potential of this industrious and benevolent population. We don't need glossy brochures with visions of a Western-style living on the shore of the Ganges Delta, there are already plenty of those. What we need is a city that takes advantage of the aspiration of a population to feel good about themselves by being part of something bigger than themselves. With belonging comes a sense of identity. To say "I live in New Dhaka" will be a status symbol not of how wealthy you are but of how much you have made a difference.

Acknowledgements I gratefully acknowledge the work done by Programme Committee and Lecturers of the International Conferences with Exhibition S.ARCH “Sustainable Architecture” for efforts done for the success of this event. I would also like to acknowledge the stewardship of M.D. Mizanur Rahman, Chairman of Bestway Group in Bangladesh, and his staff for the vision required to do develop Purbachal Bestway City – New Dhaka.

References [1] Transparency International, Corruption Perception Index, CPI 2001 through CPI 2005, Transparency.org, Berlin, Germany, 2001-2005. [2] The Economist, Global Liveability Ranking, Economist Intelligence Unit, Washington D.C. USA, 2012. [3] Tom W. Smith, Altruism and Empathy in America, National Opinion Research Center, University of Chicago, Chicago, USA, 2006. [4] opensource.com, “What is Open Source”, Red Hat, Inc. Raleigh, NC, USA. [5] Bridgette Meinhold, “Sarvajal’s Solar Powered Water ATM Franchises Provide Clean Water in India”, Inhabitat – under Design, 10/10/2011. [6] Luciana Gravotta, Cheap Nanotech Filter Clears Hazardous Microbes and Chemicals from Drinking Water, Scientific American, Tech May 7, 2013, Armonk NY, USA, 2013. [7] Arif Hasan “Innovative design could transform urban planning in developing countries” International Institute for Environment and Development, March 2010, London, UK. [8] United Nations, Adis Ababa Action Agenda of the Third International Conference on Financing for Development. 13-16 July 2015, Addis Ababa, Ethiopia.

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DOI: 10.14621/tna.20160305

Flexible, Interactive Structures for Future Visions: A Case Study Vasilija Abramović, Henri Hubertus Achten Cabinet of Architectural Modelling, Faculty of Architecture, Czech Technical University Thákurova 9, 160 00 Prague Czech Republic; vasilijaabramovic@gmail.com

Abstract

1. Introduction

When thinking about the future vision of a city, having in mind recent development in digital technologies and digital design tools we are inclined to expect new building structures which incorporate this technology to better help us manage the complexity of life, to simplify our daily lives and tasks. The idea behind this research paper lies in design of such structures, which could be put inside an urban context and engage in creating a built environment that can add more to the quality of life. For us Interactive architecture is architecture that is responsive, flexible, changing, always moving and adapting to the needs of today. The world is becoming more dynamic, society is constantly changing and the new needs it develops need to be accommodated and as a result architecture has to follow. Spaces have to become more adaptive, responsive and nature concerned, while having the ability for metamorphosis, flexibility and interactivity. Taken as a starting point of this idea is a specific module from graduation project in 2014 "The Unexpected city", where it was possible to test out first ideas about interactive and flexible objects in an urban environment.

In this paper we report on a PhD research which has recently started. The field of the PhD research project is Interactive Architecture. As such this research paper will focus on defining what is the phenomena of Interactive architecture and how could it be used in developing an object (building structure) within an urban organism, which could be both flexible and interactive with its users. The word “organism” is deliberately used to accentuate author’s belief that interactive means responsive, flexible, changing and always moving. The aim of this research topic would be to find and develop an idea of a design by which architecture could become more interactive in the future. Such, it would achieve much better building functioning, being user friendly and communicative on both ends: user – building environment. The whole logic of design has to be changed due to the rapid change of the technology and human demands.

2. Problem exploration

Keywords:

Flexible; Interactive; Adaptive, Modular; Vision

Article history:

Received: 17 April 2016 Revised: 10 November 2016 Accepted: 09 December 2016

The world we live in today develops rather fast and with the lifestyle which speeds up its pace day by day, we are in urgent requirement for new type of architecture. This “new architecture” principle has to take into consideration the environment and become efficient and responsive to it and its users. In particular we are looking at public spaces which are abandoned and today represent so called “black holes” inside the city structure. Revitalization of such public spaces in form of new architecture forms which would be a symbiosis of flexibility and interactive design technologies, would not only give life to those specific locations but would also create new “breathing spots” for the city. We observe that cities are mostly concentrated on few main “hotspots” which are increasingly becoming overcrowded and therefore their quality degrades, thus influencing functioning of the city as a whole.

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We feel that for that reason, in addition to adapting to changing conditions, built spaces should at the same time pro-actively affect our lifestyles and activities. They have to actively negotiate with all external demands. In other words – they have to become interactive [1]. What is wished to be achieved is to make an interactive flexible module, which would serve as an individual object, or be a part of a bigger urban settlement. It would be a symbiosis of new digital technologies and design methods. Changing architectural form would have to be in relation to its also changing environment.

2.1. Problem as seen in Montenegro, the rising issues When we look at the current situation in Montenegro we can see that there is a lot of pressure on cities at the sea side. We may be left with no more free spaces to build anything for the community in cities along the sea, such as: Budva, Kotor, Ulcinj, Bar, and Herceg Novi, given that a majority of the land there is sold to hotel chains and profit seeking foreign investors. Hotel Fjord in Kotor, is an example of such an object. Once a modern example of architecture of 20th century, having an amazing location on the edge of the sea and the mountains of the Bay behind, while today a ruin and a ghost building. However, the visionary surplus of this architecture, still tangible even in its ruinous state, should make us ask ourselves what visions we might have today for these structures and in what way we should build new ones. Whatever we would build in these locations would have to be more user oriented, not only now but also for the future. Rigid boxes, hosting one function, not applicable to change are no more an option, and every day growing cities cannot afford them. The same situation is found on the north of the country, cities like Zabljak, Rozaje, Mojkovac and Berane. None of them could offer what the people need – a vibrant space, with multitude of functions, options and events. After being used as originally planned, mostly built for at the time active and important companies in the country, these locations and buildings completely lost their purpose. After their main usage they were even hardly maintained, until being totally abandoned. In our research we intend to look at these places.

2.2. Subtitle

wiped out. As said before - The space exists only if there is an event to "activate" it. The challenge presented by such spaces is the challenge and the question of use. What is it, that we as architects, could plan better and give the buildings a possibility to expand their lives even after the main reason of their existence is gone? How can we plan a building, or a space, or an urban settlement which can be many things at the same time, so we do not need to demolish it, or leave it abandoned after some years have passed to be replaced by a different building? Buildings are becoming multifunctional and have multiple meanings and readings. A sport’s centre for example is not anymore just a hall where the sport is played. Now it is also the administration for the sport events, shopping places, entertainment places, cafes, restaurants. It is a small city in one. Office buildings are not like they used to be, where people would just go to work. Now they have sport facilities, children centres for the employee’s kids, restaurants, places for bigger gatherings, cocktail parties etc. What has changed is the EVENT, or better put human need for it. Today people do so many more things in one day, in one place, in one building. Cities find it difficult to accommodate mono-functional buildings in their areas which are under pressure, and inhabitants are also demanding multiple activities nearby. 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. In this way people can get fast and easy what they need while at the same time we preserve what is around and exploit the environment in a proper way. This is the point where smart houses and Internet of things come to the picture. These technologies can make architecture more user concerned, trying at the same time to host all kinds of events its users might need. From here we can propose that basic elements of how we should start developing new way of thinking and designing the architecture should be (Figure 1): 1) USER (main player) 2) EVENTS (main action) 3) SURROUNDINGS (main place) 4) ARCHITECTURE (main host)

There are many architectural examples along with important locations, which once served as prominent examples or an important part of an urban settlement, but due to the changes in urban fabric, current requirements for given functions of these buildings, they have been cast aside. These buildings and locations today mostly stay empty, and the "space" in them was

5) FLEXIBILITY (main option) 6) INTERACTIVITY (main way) All these elements must be taken into consideration when making a project design, and these steps should be followed. User requires certain number of events, which are happening inside wider area – surroundings,

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Figure 1. Basic elements proposal

and should be hosted by an object – architecture, or an urban settlement. This object should provide flexibility towards all elements around and inside of it. Moreover interactivity towards the user and the surroundings is needed for better user experience and better building performance. This diagram shows main relations of all six elements. The design of interactive architecture should involve a choice by the parties involved what kind of attitude(s) the building should have [2].

not the same as 20 or 50 years ago. The needs of people, of city functioning and the city lifestyle have dramatically changed, and therefore architecture must follow. Events are the main triggers in the space nowadays coming from various sources such as work, living, public gatherings, or administration. People are the one who ask for them, and we – architects are supposed to create architecture, or urban settlements to host all of their needs. As an important step to achieving simplicity inside the complexity of today’s lifestyle, interactive design would help the communication between the user and an object, by creating responsive objects. The user would give an input of information about its needs to the object – structure, which would be able to react and change based on them. Architecture should not only sustain, but also needs to entertain, instruct, explore, and optimize performance in various degrees. While some of this may be achievable through passive means, it is evident that the future of architecture is a design which would be simple for use, but changeable due to the rapid change of the lifestyle today. Changeable design is perceived as a flexible architecture incorporated with interactive design technologies, and new design principles.

3. Method of work 2.3. Efficiency of the built structure Important matter is that the design has to be efficient as well. It has to deal efficiently with its surroundings, meaning that architecture of this advanced design would have to answer both to the user and the environment. Additionally, it is commonly acknowledged that architecture has to be sustainable. This means that it has to sustain itself by its own means, instead of being sustained by external forces. Environment in which architecture has to perform consists of numerous layers. Those layers; the natural, social, cultural and many others, form local and global ecologies of all possible kinds, creating very rich networks of dependencies and relations. If demands towards architecture, coming from any factor of such intricate ecologies, under certain conditions abruptly change, architecture may have to either adapt itself in order to accommodate those new demands, or it has to give feedback to its environment to reconsider its requirements. In either case, this means that buildings have to develop an ability to react to unpredictable and rapid changes in demands for specific functional qualities [3].

2.4. Goal Architecture we build today, and for the future, should correspond to what has changed in the world itself. It is

Author’s belief is that the public space is the first point of action where these designs must take place, and where they should be tested. By observing people’s actions we would be able to realize what is needed within an urban space, and to answer the questions around our design. Initially we will test these ideas in a virtual environment, where all possible interactive designs could be applied as well, in corporation with other engineers. This project plans to focus on discovering and applying chosen interactive designs into planned architectural urban structure, which would be the test prototype both of interactivity and flexibility in architecture. Main questions this research poses to answer would be: “Where, and how could new technologies and structures be implemented inside an urban context?”, “How should this structure look like, in order to satisfy main interaction goals?”, “What kind of interaction and flexibility is needed inside the public space?” etc. Architecture of industrial heritage is as well an interesting point of focus which could be a new field of action for this "new" type of architecture. There are many examples throughout the world where industrial buildings are being converted to cultural centres, since their flexibility gave an option for hosting multitude of different functions, with various scale incorporated. It

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should be stressed that a flexible approach in such buildings is necessary so that programs can be suspended or changed in response to changes in priorities that might occur, which is one of the core points of this research. The industrial heritage is part of a country's culture and it reflects the degree of civilization reached at a certain point in time. For this specific research industrial heritage is of importance in a way that it could be used as ground for technological and design improvements by the means of interactivity and flexibility in architecture. As an inspiration for future work, this will be an example of changes in architecture, with the important question of scale and wide range of possibilities for its development. These types of buildings will be included in the research process from theoretical view, but also as a case study material. Vision of this research project would start in an urban context, and later in a residential one, which would be interactive in a way to respond to the needs of people using/living in it so it could completely follow up on lifestyles, "read" its surroundings and therefore also be more efficient in its life span. The residential sector is different from urban sector in many obvious ways scale, number of people involved, environment, context, and so on. However, we can apply a number of principles derived from experiences with urban context to residential sector. First, in both cases we start with an anonymous base of users. In urban environments this base may stay anonymous, whereas in residential context the system is more likely to get to learn the principal inhabitants. Second, in urban environments the number of actors involved with an interactive system can vary greatly from just a few people to large numbers of people. Deciding on the right interaction approach means reading and balancing out many inputs. Such decision making is also necessary in a residential context, although the number of actors is much more limited. Finally, by looking at the urban context we may get clues what people need from the urban context that they cannot get at home. These clues may be important pieces of information to improve the residential context. This research will focus on the development of new ideas and practical applications for interactivity inside firstly urban and then private sector. Our main methodology is research by design – in which we develop our understanding of interactivity and flexibility through a sequence of designs. By analysis, we would be able to improve the design and make it each time a step closer to our goals. Several ways would be possible in achieving such results and analysing them: creating a prototype and observing the reactions by ways of videotaping, observing (professional observers), surveys, simulations etc.

4. Case study Many of the ideas presented above have their origin in a case study for the design of an interactive and flexible module. This study is the author’s graduation project in 2014 “The Unexpected city”, which was also part of an international competition given by Daniel Libeskind. The proposed interactive structure in this project is a cube of 7m x 7m, which would serve as an experiment model. The module can be moved up and down thanks to four telescopic columns which are part of its construction. These columns expand and descend when needed. The ceiling is attached to the columns therefore rises and descends along with them. Walls are made of special textile waterproof texture. As such they are stored in the compartment attached to the ceiling, and they can roll out, or roll in based on the need. Such this structure would already give a starting point towards the research being flexible and able to change : 1/ able to go up to 4m of height and therefore become an object, or 2/ able to go down to -0,4m and therefore become either a platform to walk on/sit on, or used as a stage for an urban setting. It can provide seating elements, light sources, atmosphere creation, ambient and direct communication, active monitoring, acoustic control, access control and many other. Mentioned structure is just taken as a proposal – starting point, whilst it will probably be changed during the design process and moved towards a different solution/strategy.

4.1. Location Project location is the city of Kotor, on the coast of Montenegro, situated in Boka bay. The urban core of Kotor is an intricate network of narrow streets and squares of irregular shapes. Complexity and irregularity of the urban matrix represent one of the main characteristics of Kotor. This place was chosen as project location for several reasons. In the author’s view it has a lot of potential that has not been exploited enough. The project is set against a very powerful scenery of mountains and ancient walls. On the other side of the walls it’s an entirely different sight and that is where this project is being used as a link of the old town, on one side, and the other part of the city, on the other side. In the project the focus is less on exuberant forms and materials but on actions in which people participate – the so-called events (”events” as a tool in architecture will be explained more later in text).

4.2. Case study design concept Spatial volumes change and continuously redefine their relationship with the ground. This volumetrically chameleonic structure can accommodate multitude of

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functions. The architecture is deliberately simple. No skew lines, distorted facades or structural acrobatics. Just a modular grid, sometimes occupied by volumes, sometimes left empty. The core is eroded and contains references to topographical features of Boka Kotorska. This is where all simplicity ends and the whole set of complications and technical tricks enter the scene. These cubic modules, represent the idea of architecture of transformation or so called metamorphosis. With the technical support of telescopic columns which enable these modules to elevate (rise up) or descend, this space is given a unique arrangement constantly making it possible to be a shade, an object, walking platform, a square, a place to sit on. These objects do not have a fixed purpose, fixed shapes and heights. The modules can appear and disappear any time as needed. They can unite and host bigger masses, or just descend and become something to walk onto. They can respond to the needs of an individual or be a place for bigger gatherings. The project relies more on actions - on events, on setting a stage for happenings than on physicality of the built form. Projects like this need to generate considerable visitor’s traffic. Proposed technologies are feasible even if they approach sometimes the cutting edge. This project gives a clear statement how we can add new layers of architecture in the historical context. Programming of the content comes from very deep knowledge of local situation where there is very limited space for extension of the public space. Last but not least is the fact that there is much thought through energy consumption, which is yet another topic architecture dwells around today. One can be critical about energy spent to the telescopic columns but if we would compare it with one installation of the stage in the public space which includes transport of all the equipment this starts to be not just energy but also money saving solution. This complex will never be something already seen before, and not something which one could ever see again, since it is constantly changing. One event replaces another, and so happens in circles, over and over again. Like this it is becoming a "hotspot" not only of the city of Kotor, but of the whole country.

4.3. Flexibility–approach There are many different approaches possible in designing a structure that could answer all the mentioned requirements. The architecture has to respond to the environment. Question is how can we apply principles from nature back to architecture, without letting it be too artificial? The environment we create inside the building, has to correspond to the one outside. In finding practical ways of creating complex

systems, a lot can be learned from nature. In fact, every living being, seen as composed of countless smaller and simpler elements, is a complex system in itself. If we trace processes that form living organisms, it’s obvious that none of them had initially been shaped in all its intricacy. They always start with a single cell which multiplies itself numerous times. When a critical mass is reached, cells start to differentiate; they begin to form tissues and organs. Analogically, buildings can be designed and created in a similar manner [4]. In the case study we can see the same principle: a simple modular cube which was then multiplied several times until the needed number and area for that particular location was reached (Figure 2 and 3). Also, zooming to a smaller scale (Figure 4), shown is the relation which was explained earlier in figure 1. Taking a modular cube as a graphic example, from the case study, the relation between previously mentioned 6 elements is demonstrated (user, event, surroundings, architecture, flexibility and interactivity). User, requires certain number of events inside of a building, which then communicates back to it, whereas both factors being affected by the surrounding, which has its own influence.

4.4. Review of case study This module is well suited for public situations in which a city would be in need of a flexible space that could host multitude of events depending on the need. It could be any functions such as: artist’s installations, exhibitions, galleries, public fairs, book fairs, open shopping days etc. In urban environments of today people are not offered with changing, inviting structures but rather with ones which are supposed to be observed or walked by, but in no way to be interacted with. We do not see a public space around us, which is engaging people in some activity with itself. Architecture which is not created just to impress, but rather to respond, to react and to work with people. Author strongly believes that the future of architecture lies in such a principle. Mentioned module, is however not perfectly suited for intimate and private situations or events, which would not concern open and accessible public space. Positive side is that if we presume that the idea would lie around the modular cube, which is not too big and could be easily moved, then we are inclined to believe that these modules could be moved wherever wished, and therefore could become many different things. The main research questions which are proposed are originating around the notion “interactive” itself. Research question number one would be: “What types of interaction technology do people in public places prefer?“.That is something that can be tested and analysed throughout the public sector and we can know what the criteria is. “What kind of interaction technologies are good for the

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Figure 2. Urban setting 1 (modules from graduation project)

Figure 3. Urban setting 2 (modules from graduation project) ___________________________________________________________________________________________________________ V. Abramović, H. H. Achten: “Flexible, Interactive Structures for Future Visions: A Case Study”, pp. 34–42

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space. Now it is a point of interaction. Since the main idea is to work within public spaces, it would be as equally important if the object/building envelope could react based on the public activity in the outdoor space. These aspects are something on what we plan to work further more with a goal of developing a specific design, which will live up to expectations of both interactivity and flexibility in a building.

5.2. Ethic concerns

Figure 4. Module cube, 6 elements

people in public situations?”, “What is the acceleration speed at which the walls of the module should move so it can be pleasant and interesting for people?”, “Who should be able to control these modules in the public spaces?” etc.

5. Future work 5.1. Vision statement Through flexible and interactive architecture we hope to increase and diversify the lifespan of locations, spaces and buildings. Even though the idea started in Montenegro the plan is to generalize these findings to other countries. New digital technologies and design methods offer exciting opportunities for architectural design. Principle is creation of spaces which are able to maintain a dialogue with their users, not only responding to their demands, but pro-actively engaging themselves in all kinds of featured spatial activities. There are however many problems how to reach true “interactive architecture”. The least of them are of the technological nature, but the most difficult once to overcome relate to theoretical, cultural and social questions. Another important factor is the building skin. It is one of the first building elements which distinguishes outdoor from indoor. The inside realm from the surroundings and nature around. This is one of the very first steps where the transformation are already starting, and new ideas are being presented. Nowadays it is important to see a building envelope from another point of view. It is not anymore just something which is closing the inside

As said earlier in the paper, main problems to overcome are concerned with social and ethical aspects. Here we want to address just some of them, as something we have to be aware of and come to an understanding in the future, in order for this new visionary type of architecture to be successful. Our perception of what is comfortable, of how the building should behave at the moment, is not going to be the same in 5 years from now. With ever-changing perception of us - architects and creators of living space, the main question we need to ask ourselves is “How to design a building that easily changes with us in the future?”. Without such changes the building becomes rapidly old and unsuitable, in need for replace. Another important point is how compelling should the interaction become – we should avoid that the building dictates our lives, and habits, and pushes us – users, to comply with its performance? These problems should not be only concerning the "machine", but the identity as well. Mass production is something what has been introduced to people for already quite some time now, and we are mass producing more and more now. Despite the fact that our own lifestyle changes urge and ask for such production, we are also all individuals which feel the need to intervene with the design, to make it unique. Masscustomization aims to address parts of this question by producing (inter)changeable parts depending on individual needs and preferences. Advances in Rapid Prototyping technology are making it possible to produce highly individual and "one-off" pieces with same quality as mass-produced or mass customized products. Finally, turning away from the physical realm we can expect and even demand from our buildings individually tuned behaviour to us as inhabitants. In this way the problem of identity could be surpassed and turned into an opportunity. Overall mass production has its tool on the city's image as well. They are all starting to look more like one another so the success and individuality gets lost. The fear which Archigram shared was that architecture alone cannot be enough to give this feeling of a place, to give identity.

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"I have a desire for The built environment To allow me to do My own thing." When discussing these ideas of new age and futuristic architecture people are half amazed, but half is afraid how our world will look like if the future looks like this. There are certain social groups which are troubled with these concerns and with the fear not to lose the touch with the nature as well, while making this world a fast and a dynamic machine. A poem "All Watched over by Machines Of Loving Grace" by Richard Brautigan explains it very well in just a few lines. "I like to think (right now , please!) of a cybernetic forest filled with pines and electronics

the architect must design at a higher level of abstraction - by giving to the end user the opportunity to intervene in the design. This work will be a symbiosis of theoretical approach followed by case studies and prototype designs when applicable.

Acknowledgements Presented work is part of the PhD research project “Interactive Architecture” carried out by the author at Faculty of Architecture, Czech Technical University in Prague, Cabinet of Architectural Modelling (MOLAB) and supervised by Professor Henri Achten. In the text is referenced Master thesis project "The Unexpected City", done by the author – Vasilija Abramovic, at Faculty of Architecture Czech Technical University in Prague in 2014, supervised by Professor Vladimir Sitta.

where deer stroll peacefully past computers as if they were flowers with spinning blossoms." Similar as in the poem, the author feels that the face of the city of tomorrow should be the integration of the natural with the artificial.

6. Conclusion

Funding source This research is made possible by a grant received from Ministry of Science of Montenegro through "National scholarship program for excellence", awarded to Miss Abramovic, in the year 2015. The scholarship is a part of HERIC project which is placed within the overarching framework of the Government of Montenegro’s strategies for European integration in the areas of science and research and it’s Strategy for Higher Education.

The world is changing, and so is architecture. Since the world is evolving its communication and manufacturing methods drastically and with increasing speed, architecture will never be the same [5].

References

We have to figure out a way for architecture to follow these changes, by designing complexity with simple methods. This research aims to develop architectural solutions capable of sustaining themselves in its dynamic spatial, social and natural environment, at the same time actively engaging with its users and the surroundings, while adopting to constantly changing conditions. By this we would be creating solutions which can become interactive and flexible while adding quality to our lifestyles, and to cities in general.

[2] Achten H., Buildings with an Attitude. In Stouffs, R. and Sariyildiz, S. (eds.), Computation and Performance – Proceedings of the 31st eCAADe Conference – Volume 1, 2013, Faculty of Architecture, Delft University of Technology, Delft, The Netherlands, 18-20 September 2013, pp. 477485.

The ideas which were analysed and mentioned in this paper will be used to help developing this philosophy further more in this research, which can contribute to better designing of an interactive and flexible structure in the future. Metamorphosis and transformation of the space are the qualities which we must seek. Flexibility is the main component an object needs to demonstrate. If we want to build in a more flexible and varied manner,

[1] Oosterhuis K., Cook P., Architecture Goes Wild, 010 Publishers Netherlands, 2001.

[3] Jaskiewicz T., Process driven architecture, ASCAAD 2007 conference proceedings, 2006. [4] Jaskiewicz T., Dynamic Design Matter[s], First International Conference on Critical Digital: What Matter(s)?, 2008. [5] Oosterhuis K., Simply complex, toward a new kind of building, Frontiers of Architectural Research, 201.

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Thesis

- Schumacher, SM, Schaeffer, SO and Vogt, VM, Move, Birkhäuser Verlag, Basel, 2010.

- Acharya, LA, FLEXIBLE ARCHITECTURE FOR THE DYNAMIC SOCIETIES, Master's Thesis, Faculty of Humanities, Social Sciences and Education University of Tromsø, 2013.

- Ota, KO (eds), Project Talks…,Taschen, 2011.

Metabolism

- Fox, Kemp, MF, MK, Interactive architecture, Princeton Architectual Press, 2009.

Books - Seydel, ER 2012, Veerkracht. Rede uitgesproken bij het afscheid als hoogleraar Communicatiewetenschap en Psychologie aan de Universiteit Twente op 12 september door Prof.dr. Erwin R. Seydel, Universiteit Twente, Twente, 2012.

Japan.

- Jenks, CJ (eds), Theories and Manifestoes of contemporary architecture, Academy Press, 1997

Cook, PC, Archigram, Princeton Architectual Press, New York, 1972.

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DOI: 10.14621/tna.20160306

Landscape Architecture as Environmental Harmony Ardita Byci Jakupi University of Prishtina “M.Fejza”, 23-1, Mati 1, 10000 Prishtina , Kosovo; ardita.byci@gmail.com

Abstract

1. Introduction

During the past ten years, there has been a great interest in holism. Architects are trying to find new ways for development of multi-layered skills working toward a holistic integrated approach and developing new ways of multidimensional and multi-layered conceptualization of the space. If the holistic approach means inclusion of all dimensions of the place: morphological, functional, social, perceptual, visual, temporal, then there is a strong platform to do, to plan, to design something where everything is in the right place, that means to create harmonious environments. Landscape architecture, which often is referred as a pastoral scenery or garden with plants, today is reformulated. From that conventional image its usage is more diverse and rich, including urbanism, architecture, planning, infrastructure etc. Thousands of years’ people have tried to recognize and to understand the meaning of space through different configurations. They invented different concepts and also used natural phenomena, planetary impacts, solar and lunar, only to create ideal living environments. All these architectural landscapes remain as a mark of different civilization of their environments. But what is exactly a harmonious environment? Is it a state of environment when objects are in good relationship that bring balance and harmony to the living beings? Does it present a quality of things agreeing, being suitable and appropriate? Is it a language or a cultural way of seeing? The research tries to explain environmental harmony through spatial variables, perceptual aspect, through principles of geomancy and Vedic architecture also with analogies such as empathy and transcendental meditation. The research tries also to show that landscapes of the past can serve as an endless source of possibility and inspiration for creating harmonious environments.

Today, the definition of landscape architecture has changed. The landscape architects are trying to find new ways for development of multidimensional skills working towards a holistic and integrated approach. They try to achieve better balance between the function and beauty, always with the aim to respect the character of the landscape and its sensitivity.

Keywords:

Landscape architecture; Environmental harmony; Patterns; Language

Article history:

Received: 15 April 2016 Revised: 05 November 2016 Accepted: 08 December 2016

If the holistic approach means inclusion of all dimensions of the place, then there is a strong platform to do, to plan, to design something where everything is in the right place, that means to create harmonious environments. The first chapter speaks about the definition of landscape architecture, its evolution in theoretical aspect and other definitions find in literature. It tries to describe landscape architecture as science with holistic approach and not as a science that deals only with earth works. The second chapter speaks about environmental harmony that comes as a result of the new definition of landscape architecture. It tries to explain environmental harmony in the context of space through: spatial variables and perceptual aspects. Philosophical systems and analogies also has been used to describe it. The third chapter presents some examples of landscape architecture in different periods of time that presents environmental harmony. The examples have been chosen in that way that presents characteristics of the certain period depending on design principles and invented concepts: cosmological landscapes- prehistory, walled landscape- Medieval, curious landscapes- XV century, landscapes of human desire- XVIII century. Landscape architecture as a science of putting things in the right place is the environmental harmony in itself. And it has to do not only with physical or social phenomenon but also spiritual one. Our world needs urgently a spiritual point of view, which connects again the man and the nature, which relates human culture

___________________________________________________________________________________________________________ A. B. Jakupi: “Landscape Architecture as Environmental Harmony”, pp. 43–50

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with the power of the nature, which understands cities and landscapes as organic units. That is why landscape architects must perceive the site as a living being, as a unity aspect of consciousness and essence, aspect of energy and vitality and aspect of physical form. Also, to serve with examples from the past as source of possibility and inspiration for creating harmonious environments. Through this approach, we can generate sustainable concepts that lead toward environmental harmony.

2. Landscape architecture from pastoral scenery to a multidimensional conceptualisation The term ‘landscape’ is very wide. Rarely landscape is used to refer solely to pastoral scenery or garden planting- images with which is most conventionally associated [1]. James Corner in his book “Recovering Landscape” who tried to reformulate the term landscape, mentioned that “...its usage is diverse and rich, embracing urbanism, infrastructure, strategic planning...”. One of the issues that is being discussed is how new landscapes are still represented by pastoral and historical landscapes. How can this traditional view of seeing affect in future landscapes or in definition of landscape architecture itself? Landscape is “place” and “language”. Anne Spirn in her book “The language of landscape” says that: “…landscape is pragmatic, poetic, rhetorical, polemical. Landscape is a scene of life, cultivated construction, carrier of meaning. It is a language” [2]. She describes landscapes in verbal context: “…landscapes are the world itself and may be also metaphors of the world. In other side, Corner says that because the landscape is itself a text it is open to the interpretation and transformation. He says that: “…landscape is not merely a physical phenomenon but is also a cultural schema, a conceptual filter through which our relationship to wilderness and nature can be understood” [3]. James Corner tries to link landscape as a text and landscape as a site. Dictionaries offer this kind of definitions: “… design of outdoor public areas, landmarks, and structures to achieve environmental, social-behavioral, or aesthetic outcomes. It involves the systematic investigation of existing social, ecological, and geological conditions and processes in the landscape, and the design of interventions that will produce the desired outcome. Landscape architecture is a multi-disciplinary field, incorporating aspects of: botany, horticulture, the fine arts, architecture, industrial design, geology and the

earth sciences, environmental psychology, geography, and ecology. Landscape architects work on all types of structures and external space – large or small, urban, suburban and rural, and with "hard" (built) and "soft" (planted) materials, while integrating ecological sustainability [4]. Laureates, such as the father of landscape architecture Olmsted, describe: A design which works on the unconscious to produce relaxation and utility or purpose over ornamentation. A bridge, a pathway, a tree, a pasture any and all elements are brought together to produce a particular effect. According to ASLA- American Society of Landscape Architecture, landscape architecture is “…a science and an art which embraces those professional activities relating to the systematic planning of land areas, the design of outdoor places and spaces, the conservation of our natural resources and the creation of a more useful, safe and pleasant living environment [5]. From the descriptions” …a multi-disciplinary field; …relaxation and utility; …all elements are brought together to produce a particular effect; …pleasant living environment…”, we find out that they all together tend to produce a harmonious environment. That is why the definition of landscape architecture is not anymore a science that deals with earth works but is a science of putting things in right place and trying to create harmonious environments.

3. Environmental harmony What is exactly environmental harmony? Is it a state of environment when objects are in good relationship that bring balance and harmony to the living beings? Does it present a quality of things agreeing, being suitable and appropriate? Is it a language or a cultural way of seeing? What does “harmony” means? Is it the definition of harmony analog with the beauty? We define a harmonious environment when we feel good ourselves. In art and science harmony has the same meaning. Can “beauty” describe the harmony? Beautiful and harmonious works of art gives us pleasure and makes us feel good with their appearance. Similarly, beautiful and harmonious musical compositions give us a feeling of relaxation and make us feel good. In visual art, the harmony between colours is important because it indicates in an impression of harmony. What does harmony mean in context of space? To understand the harmony in space context first we must understand the visual structure of it. Although we use vision as a main sense of perceiving the

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Figure 1. Visual elements of the space: position, similarity, figure and ground, visual inertia , proportion

Figure 2. Perception

environment, the other senses also contribute to gain the information.

3.1. Visual elements of the place The simplest way of presenting the complexity of our real world is through Euclidian geometry. We should use the elements or the combination of them, as separated ones or as part of other elements. For analyse purposes we should understand the attribute of each basic element before we know how they interact and effect different variables and their spatial organization that has produced that particular pattern. In summary, basic elements are the basic mass space elements of visual expression. Basic elements can be seen in relation to light, colour, time and movement. We see them in many different ways. There are however, a limited but fundamental number of ways of varying them. Variables such as: number, position, direction, orientation, size, shape, interval, texture, density, colour, time, light, visual force, visual inertia, determine the overall visual effect, whether it is harmonious or not (Figure 1).

3.2. Perception Perception as interpretation of sensory information is composed from knowledge, learning, memory, expectations and attention of the observer that is why the interpretation is very personal and it depends from the sense of perception (Figure 2).

In the field of urbanism perception of the space is one of the main or essential dimensions. Since the 60-s it has been developed as an interdisciplinary field for environment perception that mostly has included the symbolism and the meaning of the place and especially the sense of place. Perception sometimes referred as ‘cognition’ concerns more than just seeing or sensing the urban environment. According to Ittelson “it refers to more complex processing or understanding of stimuli” [7]: cognitivity, affectivity, interpretation and evaluability. In other side Lynch, describes, through cognitive geography, how aspects of environment can leave a strong image in the mind of the observer. Paths, edges, districts, nodes, landmarks are five key physical elements that define an image of the site. But there is a lack of using this sample because the perception of environment depends on the observer, legibility, meaning and symbolism. 3.2.1. Emotion and experience Experience plays a huge role in sensing the site. Experience can be: physical, mental, emotional, spiritual, social, subjective etc. Physical experience has to do with observation, while social experience is more shared experience that has to do with tradition, values, social role, symbols and language. In context of the sense of the place, emotional, mental and spiritual experience have more influence in this

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perception. Mental experience involves intellect and consciousness as a combination of thought, perception, memory, emotion, wishes and imagination whether emotion experience has to do with that how people can rationalize. This involves the emotional states, like for example falling in love, being sad etc. Among these type of experiences, spiritual experience is very interesting since it ‘coats’ the experience with another hue, sensing another dimension- the dimension of universal harmony that has to do with the flows of the nature or the energy of the place. As a different state of consciousness, it involves all senses in different level of experience. That is why people, or an architect that has strong spiritual experience is able to see much more that other people do- invisible patterns. The “edge” – It has been discussed, until now, for a harmonious environment in terms of spatial organization these elements: spatial, structural and ordering principles, but what about the attributes of the elements? Can a harmonious environment be without the present of an element of nature? Since the human being is genetically programed to live in a natural habitat it is obvious that the presence of elements of nature makes the environment harmonious. The more nature presence in sites or buildings the more harmonious environment. But what can we say about an environment when natural and human experiences are interlocked in such way that gives an interfering (mixed) feeling.

A fishing village on Gouqi (Figure 3) is a case of this impression. It is an example that shows us how man is used to develop the natural world into settlements, but in this case we see how nature decides to take it back. This case gives an impression of something between sublime and morbid. Is it harmonious?

3.3. Geomancy and Vedic architecture Ancient cultures were very closely related to nature. While some cultures in passive and silentway were dealing with natural phenomena, other high cultures such as Chinese geomancy, were trying to reshape their cultural life and architectonic expression in harmonious ways. Geomancy means interpreting the visible and invisible dimensions of places and landscapes, so that a holistic understanding of their true essence can emerge in our consciousness. It is a kind of a mixture of imaginary, feeling qualities, symbolic images, sounds, movements. It is a synergic combination of ecology, art and spiritual approach to life. The main goal of geomancy is to improve relationships between people and their environment based on the concept of protection, education and sustainable development, to increase people’s ability to efficiently use Earth, its resources and landscapes.

Figure 3. Abandoned Chinese village in Shengs archipelago ___________________________________________________________________________________________________________ A. B. Jakupi: “Landscape Architecture as Environmental Harmony”, pp. 43–50

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According to principles of Maharishi Vedic Architecture, known as the oldest and most complete planning system, a sustainable city is a city where everyone is happy, healthy, wealthy and wise. Only a city that is free from pollution, noise and stress and which is designed as a holistic structure in harmony with natural law, where individual life is flowing with evolutionary stream of energy and intelligence is really sustainable.

with physics, absolute with relative, meditation with physical activities, then there is a perception that leads towards a complete harmony. In this way through objectives of transcendental meditation as a science of being and art of life it can be used as analogy to experience and to understand the environmental harmony.

In these times, that we are living, there is a kind of isolation between man and nature. The results of this materialistic point of view in general can be seen with the destruction of environment. Cities are growing without any connection with the spirit of the place, new settlements and industrial area were placed without consideration for aesthetics or quality, the buildings are arbitrarily distributed within the space. Earth and land as spiritual beings remain ignored.

4. Reflection of environmental harmony in landscapes of the past

Our world needs urgently a spiritual point of view, which connects again the man and the nature, which relates human culture with the power of the nature, which understands cities and landscapes as an organic unit and makes visible the aspect of nature.

3.4. Empathy and transcendental meditation as analogy of harmony “A human being is a part of a whole, called by us ‘universe’, a part limited in time and space. We experience ourselves, our thoughts and feelings as something separated from the rest…a kind of optical delusion of our consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for the few persons nearest to us. Our task is to be free ourselves from this prison by widening our circle of compassion to embrace all living creatures and the whole of nature in its beauty.” Albert Einstein. Here Einstein speaks about empathy. Empathy as a process that builds a connection between people is a state of perception without prejudice. Empathy means to ‘read’ the inner state of the person and to interpret in such way that could help the other person by offering a full support and developing common trust. In the same way we should act with the site or the building. We should “read” their inner state, as an intuitive act by giving to it all experience and attention. Sometimes it needs higher level of understanding and seeing the site. In transcendental meditation the theory of sound (mantra) are vibrations that harmonize and suit the man with nature and the way of life. The collaboration between individual and universal mind according to transcendental meditation concepts lead to universal harmony. In this way through transcendental meditation tendencies when spirituality is combined

4.1. Cosmological landscape Landscape architecture existed from the moment when people tried to change the landscape in a way to understand or honour the mysteries of the nature. Early cultures attempted to recreate or express in their build environment the sacral meaning and spiritual significance of natural sites and phenomena. A lot of works that were constructed by our ancestors especially in prehistory like raised stones, basic shapes etc., are still conjecture and we still don’t know what exactly was the purpose of the function [8]. For example, cosmological landscapes that characterizes prehistoric earthworks and patterns, like Nazca lines, Lay lines, Song lines in Australia, New Grange or Stonehenge. Nazca Lines in Peru (4200 BCE-600 CE), a series of lines, geometric shapes and animal figures. These geoglyphs were inscribed on the bad of dry lake by overturning gravel and exposing the lighter coloured earth below. It is still not known what really was its purpose: religious, ritual, related to water sources or any relation with astronomy. Stonehenge in England (2950 BCE- 1600 CE) build by different groups of people at different times. Standing stones date from centuries and all shapes open to the northeast, framing sunrise on the summer solstice. The relationship between stones, distance and its openness presents a minimalistic harmony in relation to the space. When philosophical systems start to base on a human capacity for deductive reasoning, people looked for rational explanations for nature mysteries. In this time landscape and architecture illustrates temple grounds, buildings and important site plans. For example; Mortuary temple of Hatshepsut, in Deir El-Bahri in Egypt (1400 BCE) or Teotihuacan in Mexico (100-225 CE). In mortuary temple, the tomb of the queen Hatshepsut comprised a series of monumental terraces and colonnades symmetrically organized around a processional axis. With a significant harmony with its dramatic background of the cliff. Teotihuacan, the largest city in the world during the late II-century was the centre of culture of Aztec civilization. The city was orthogonally planned. The main axis was

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Figure 4. Scale interpretation of the city of Teotihuacan

formed from the Avenue of Dead which was oriented through cardinal directions. The temple of the Moon was the northern terminus. The Aztec sited the Pyramid of Sun over a cave near the middle of the axis. The large sunken plaza, the citadel was located across what is now the San Juan river at the southern terminus of the axis. Although the city was formally and orthogonally planned there is an interested harmony between the buildings and places but also with the mountain in its back: the temple of Moon, the temple of Sun and the plazacitadel (Figure 4). Early civilizations established ways of communicating with the sacred spirits inherent in the nature. As culture advanced and humans gained more control over the natural world, organized the landscape for physical and spiritual comfort.

4.2. Walled landscapes In the Middle Ages landscape architecture was seen in another context. It was located inside the walls. Despite the formalism and symmetry which were characteristic of this period for example: geometric divisions, walls and fences there was a concept that can be seen as an element of the harmony. This can be presented also from the phrase locus amoenus which means ‘pleasant places’. All landscapes of this period have been compound from another element- symbolism. In the East there is something else. Landscapes in China and Japan were inspired in painting and poetry where nature was the main component. All poets, painters and philosophers found inspiration in nature and symbolized

the emotional relationship between art, nature, humans, buildings in their work. Suzhou, known as the “Venice of East” is a typical example. Achievement of balance between the elements, the tendencies to create harmonious environments by bringing in balance manmade compositions with those natural, often pushed authors to create nature in an artificial way as element on their design. The palace of Song emperor Zhao Ji, which is build according to geomantic principles of Fengshui, in the garden has an artificial mountain. Saiho-ji, built on the site of an 8-th century temple presents a transitional garden of the Kamakura period. The dry cascade of stone illustrates the development of karesansui- a concept which creates the illusion of streams and waterfalls through the placement of rocks and gravel. The buildings are located alongside the lakes and the whole landscape is completed with rocks covered with moss (Figure 5). Some important principles of the Middle Ages are: utility, contrast, scale, balance and appropriation.

4.3. Curious landscapes In XV-th century “walled minds” returned to “curious minds”. Villa is an expression of humanist ideals. House and garden formed a single unit related through geometry, proportion and use. Villas, especially suburban villa was composed from house garden and agricultural component. One of the most important

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thing were vistas, that usually linked the garden to the surrounding landscape and from the villa to the city. Nature was organized in different levels, from controlled to uncultivated, with the emphasis on the human at the center. The villa Medici at Fiesole, an example of early Italian Renaissance villa is planned in harmony with the existing elements of nature. The views, as main components of the design, are possible form many angles, conferring a sense of openness to the gardens (Figure 6). Most important design principles of this period are: hierarchy, proportion and symmetry.

4.4. Landscape of human desire ‘Endless horizons’ a characteristic concept of classical French landscape architecture presents a new relationship between buildings, gardens and the landscape in general. Application of optic science is a principle to create space perspectives that express the

power and control that people have over nature. French landscape architecture in classic civilization somehow was inspired in monumentality or the grandeur. Versailles, an example of absolute power and control. In Mughal Empire the landscapes were characterized by subdivision. Four-square form (paradise), is a geometry which creates interesting patterns and modulation of space. In Mughal art shows the influence of Islamic and Hindu cultures, “… aspects of Buddhist aesthetic based on organic patterns of sculptural ornamentation were combined with Islamic sense of mathematical order and geometry” [7]. Mughal garden shows the distinctive combination of landscape and architecture achieving harmony though combination of Islamic paradise garden with Asian tradition of garden burial. Taj Mahal is one of the examples which present four-square patterns. Square patterns are created by tree lined division. The centre of the site is water which role is to mark the garden and also to reflect the dome. One of the unique things is that the tomb is located at the end of the garden (Figure 7).

Figure 5. Saiho-Ji- the site plan and the view

Figure 6. Villa Medici at Fiesole- buildings opened to the space and the view ___________________________________________________________________________________________________________ A. B. Jakupi: “Landscape Architecture as Environmental Harmony”, pp. 43–50

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Figure 7. Taj Mahal site plan. Four–square patterns

5. Conclusion Landscape architecture, which often is referred as nature or beautiful scenery is more diverse and rich including urbanism, architecture, planning, infrastructure. It has a holistic and integrated approach trying to conceptualize the space through multidimensionality. It means inclusion of all dimensions of the site- visible and invisible ones.

harmonious environments. Through this approach we can generate sustainable concepts that leads toward environmental harmony.

References [1] James Corner, Recovering Landscape- Essays in Contemporary Landscape Architecture. Princeton Architectural Press. New York. 1999.

The landscape architecture as a science of putting things in the right place is the environmental harmony in itself. It has to do not only with physical or social phenomenon but also spiritual one. That is why a complex scientific approach with intuitive, holistic and multidimensionality needs to be done. In the times that we are living the isolation between man and nature results with materialistic point of view, ignoring the spirit of the place.

[2] Anne Whiston Spirn, The language of landscape. Yale University Press. New Haven & London, 1998.

Our world needs a spiritual point of view, which connects again the man and the nature, which relates human culture with the power of the nature, which understands cities and landscapes as an organic unit and makes visible the aspect of nature.

[5] ASLA Handbook of Professional Practice, 1981.

Architects must perceive the site as a living being, as a unity of three aspects: aspect of consciousness and essence, aspect of energy and vitality and aspect of physical form, also to serve with examples from the past as source of possibility and inspiration for creating

[3] Simon Swaffield, Theory in landscape Architecture. University of Pennsylvania Press. Philadelphia, Pennsylvania, 2002. [4] James Stevens Curl, A Dictionary of Architecture and Landscape Architecture. Oxford University Press. Oxford, 2006.

[6] Bell, Simon, Elements of Visual Design in Landscape. Spoon Press, London ,2004. [7] Carmona Mathew, Heath T, Oc T, Tiesdell S, Public Places-Urban Spaces. UK: Architectural Press. Day, 2003. [8] Elizabeth Boults& Chip Sullivann, Illustrated History of Landscape Design. John Wiley & Sons, Inc. Hoboken , New Jersey, 2010.

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The Journal

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About the Journal

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Instructions for Authors

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

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

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

Checklist 1.

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

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

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Numerated captures of all illustrations as a separate MS Word file

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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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