| 61. |
- Gullström, Charlie
(författare)
-
Stora stiliga starka och stolta. Léonie Geisendorf älskar hus : Specialnummer om Léonie Geisendorf
- 2014
-
Ingår i: Arkitektur. - 0004-2021. ; :3, s. 28-49
-
Tidskriftsartikel (populärvet., debatt m.m.)abstract
- ”Upp i vind!” Så löd mottot för Léonie Geisendorfs tävlingsförslag till nytt Riksdagshus i Stockholms ström 1971. Uttrycket passar även bra för att beskriva Léonie Geisendorfs karriär som arkitekt: Yrkeskvinna, företagsledare och arkitekt – under mer än ett halvt sekel har hon styrt sin verksamhet med säker hand och rakt mot vindögat. Kompromisslös kallar hon sig själv. Men för att få igenom en vision från idé till byggnad krävs förstås både mod, medvetenhet och styrka. Det har Léonie Geisendorf sedan barnsben: ”Jag vill rita hus! Stora, stiliga, starka, stolta, vackra hus.”När Léonie Geisendorf nu fyller 100 år 2014 är hon sannolikt den äldsta arkitekten i världen och en förebild för flera generationer svenska arkitekter. Tillsammans med sin man, schweizaren Charles-Edouard Geisendorf öppnade hon kontor i Stockholm 1950. Arkitektkontoret uppmärksammades i slutet av 1950-talet för sin uttrycksfulla och omsorgsfulla hantering av obehandlad betong. Entréhallen i S:t Görans gymnasium (sid 28) är ett gott exempel liksom Villa Delin i Djursholm (sid 50). I båda fallen en stark tredimensionell rumsupplevelse och en särskild ljusföring som helt enkelt ger varma och soliga interiörer – av rå betong.Mästerverket som kontoret arbetade med i 13 år, Katolska kyrkan i Kungsträdgården (sid 18), blev tyvärr aldrig byggt. Den omsorgsfullt skulpterade fasaden i betong möter gatan med en öppen portik i varierande höjder. Portiken silar stilfullt in ljuset från väster och ger lyster åt de ståtliga pelarna som bär upp kontorsvåningarna ovanför.Man kan undra varför det inte blivit fler märkesbyggnader i Stockholms stad. Var Léonie Geisendorf för tuff, för odiplomatisk, gjorde hon sig omöjlig? Eller var det kanske så att Sverige vid tiden inte var moget för Léonie Geisendorfs uttrycksfulla arkitektur?
|
|
| 62. |
- James, Franz, 1966, et al.
(författare)
-
‘Fit and Re-Orientation’: Unpacking Layers of Carceral Design Heritage in Contemporary Design of Special Care Homes for Youth, and Its Impact on Well-Being
- 2019
-
Ingår i: Paper presented at the conference 'The Material and Immaterial Heritage of Psychiatry', organized by Centre for Critical Heritage Studies, UGOT, Heritage and Wellbeing, Sweden..
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Abstract: This paper aims to critically discuss and analyze the carceral (prisonlike) layers of the particular design heritage that form the contemporary interior design of rooms in institutions that serves as correctional facilities; such as prisons, psychiatric hospitals and so-called special youth homes. Moreover, it aims to shed a light on the impact carceral design may have on well-being for people who inhabit these spaces. The main focus of this paper will be on special youth homes that are run by The Swedish National Board of Institutional (Statens Institutionsstyrelse, SiS) and provide compulsory care and rehabilitation for children and adolescents with severe psychosocial problems, substance abuse and/or criminal behavior. The special youth homes are considered to be neither prisons nor jails. Nevertheless, some are actually located in former prisons, and the majority are built for incarceration. To analyze the layers of carceral design the concept of ‘Fit and Re-Orientation’ is used. This concept stems from a phenomenological viewpoint developed by Sarah Ahmed; “Queer phenomenology”. To elucidate incarcerated young people’s lived experiences of carceral design and the impact it has on their wellbeing in everyday life, examples of empirical data are brought in. It is further discussed how the physical environment ‘Fits or Re-Orientates’ them in the process of (re)habilitation. Finally, the authors suggest a model for how the dialectic relationship between the incarcerated person and the physical environment can be understood and why this relationship becomes counterproductive for (re)habilitating care processes and well-being.
|
|
| 63. |
- Jönsson, Roger
(författare)
-
Arkitekt i mellankrigstidens Europa - Fred Forbat och funktionalismen
- 2004
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This is the first comprehensive monograph on the subject of the architect Fred Forbat. He was a pioneer of functionalism who worked in four different countries. Besides being a presentation of Forbats work, interesting in itself, this investigation also aims at addressing certain questions regarding the history and concept of functionalism as a style and movement. I deal with the work in chronological order and in the book’s four main parts – Weimar, Berlin, the Soviet Union and Hungary – I address several questions concerning specific periods in his life. Some of these are outlined below. Forbat’s long and important career in Sweden (1938–1972) is, however, only summarized at the end of the book. The overall picture also raises certain questions. One is if and how Forbat’s work reflects the fact that the countries in which he worked had very different social, political and cultural agendas and traditions? Was functionalism really an abstract, logical and international architecture unaffected by place? And how does Forbat’s individual brand of functionalism compare to the overall concept of this movement? Forbat was in his early twenties when he started working as an architect in the office of Walter Gropius, who had recently founded Bauhaus in Weimar. In the first part I discuss the origins of the functionalistic aesthetics, and investigate the role Forbat played in the transition from an expressionistic to a functionalistic design idiom that took place in Gropius office and the famous school in 1922–23. In the second part I look at the contribution Forbat made to the social housing programs in Berlin in the late 20s. I also discuss the gradual development of a functionalistic theory of architecture. In the third part I describe and discuss the city planning carried out by Forbat and the Ernst May Brigade in the Soviet Union in the early 1930s. I also compare Forbat’s manifest Die funktionelle Stadt (1933) with the functionalistic doctrine of city planning formulated by the CIAM organization, strongly influenced by Le Corbusier. In the fourth part, Hungary, I analyse the many, largely unknown and small buildings Forbat designed in his native country during the period 1933–38. By this time his architecture had undergone a definitive change, which I believe reflects a shift in his attitude towards place and tradition. This study shows that Forbat played a significant role in several key periods in the development of functionalism. It also shows that Forbat shunned the utopian tendency in modern architecture, and represented a realistic, pragmatic side. Yet, in many ways his work mirrors both the general development of the modern movement and the context of the different countries in which he worked.
|
|
| 64. |
- Karami, Sepideh, 1976-
(författare)
-
Interruption : Writing a Dissident Architecture
- 2018
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Interruption: Writing a Dissident Architecture makes a contribution to the fields of writing architecture and dissident architecture. Concerned with developing an ethos of criticality from within, it presents a series of performative writing experiments that are situated in politically charged architectural sites, from public spaces, to institutions, to domestic spaces. My aim is to ask how a dissident architecture could be produced through the practice of writing, specifically by offering an account of the performative acts of various characters who are introduced in the thesis, and who critically inhabit existing architectural sites, interrupt the spatial power relations of those sites, and who thereby construct 'performing grounds'.Writing architecture is developed in this thesis not as writing about architecture, but aims instead to write it, to make it. Writing dissident architecture writes with multiple voices, with many authors, not all of whom are welcomed. It offers significant approaches to a political and critical understanding of architecture. Where architecture in this thesis is understood both as a material structure and as a disciplinary framework in which power can become oppressive, writing architecture, on the other hand, is developed as a ‘minor’ practice that can act upon existing sites, interrupting their ‘major’ power relations. Interruption, developed as a tactic, is what activates architecture to become a performing ground for the act of dissidence. Formulated as a journey the three main parts of the thesis deal with three interrupting tactics: Pause, Cut and Fo(o)l+d, which are applied in relation to three different kinds of political site: 1) spaces of appearance or the spectacle; 2) disciplined spaces understood as sites of impossibility; 3) domestic spaces as displaced loci of subversive political actions. The Pause uses stillness and refusal as a mode of interruption. The Cut interrupts the material and structural continuity of established institutions and creates cracks in those systems. The Fo(o)l+d interrupts surveillance and control by folding in and out of private and public spaces. By introducing a quasi-fictional character to each site, who performs through one of the three tactics of interruption, a performing ground is constructed. Writing architecture forwards this journey across specific sites through which the figure of the dissident emerges.
|
|
| 65. |
- Koch, Daniel, 1976-
(författare)
-
A cortege of ghostly bodies : Abstraction, prothesis, and the logic of the mannequin
- 2018
-
Ingår i: Architecture and Feminisms. - London : Routledge. - 9781138304871 - 9781138304888 - 9780203729717 ; , s. 99-105
-
Bokkapitel (refereegranskat)abstract
- Bodies are both present and thoroughly gendered in commercial environments – and, by extension, in public space. Such gendered presence is addressed in studies of both the historical evolution and current conditions of consumption and public space alike, which show that it takes many, varied forms.[1] Where much discourse on bodies in such spaces tends to focus on photographic and video material – in magazines, on billboards, and on shopfronts – somewhat less attention has been given to the role of mannequins (here, specifically wax and plastic mannequin ‘dolls’ used to display fashion in shopfronts and inside stores). Mannequins clearly perform something other than the photographic material used to display fashion: they are less detailed, less formulated, and less expressive.[2] This is not due to an inability to make mannequins more ‘real’. Considering their prevalence and gendered presence and distribution, it is worth considering how they specifically contribute to processes of subjectification, embodiment, identity, and fashion negotiation.[3] This project builds on four primary sources: empirical research into commercial space, specifically two department stores;[4] Vanessa Osborne’s ‘The Logic of the Mannequin’;[5] Gilles Châtelet’s discussions on diagrams, space, and abstraction-prothesis processes;[6] and an experimental, explorative study undertaken at Dansmuseet (the Museum of Dance and Movement) in Stockholm in 2012.[7] The project aims to develop our understanding of how mannequins operate in commercial space and society – specifically, how in their abstraction these inanimate objects not only allow for but in fact demand completion from observers.
|
|
| 66. |
- Koch, Daniel, 1976-
(författare)
-
Changing Building Typologies : The typological question and the formal basis of architecture
- 2014
-
Ingår i: Journal of Space Syntax. - London : University College London. - 2044-7507. ; 5:2, s. 168-189
-
Tidskriftsartikel (refereegranskat)abstract
- The call for this themed issue formulates an interesting proposition, one that is a common conception – that people’s behaviour and, accordingly, the use of buildings is changing – and that this leads to the emer- gence of new building typologies. More specifically, it claims that ‘the reality of what is happening inside buildings nowadays is much more complex, diverse and multi-layered than a single word can describe.’ This paper intends to challenge the word ‘nowadays’, which places this situation as something historically unique and special. It will do this in order to conclude with a discussion of theory of analysing architecture.The first question to be examined is historical. While it may be true that building use is currently changing rapidly, it is equally true that this has happened before. Some of the most common ‘types’ are in fact under constant change, and this will be illustrated through the ‘shop’ and the ‘home’, concluded by a discussion on the perception of rapid change and historical stability as such. It will be suggested that this is partially embedded in a typological process. The second question is theoretical. It will be argued that the very idea of changing and more flexible use is tied to an idea of architecture with its roots in modernity, where ‘use’ became a central question to plan for, along with the development of a specific notion of function that was intimately connected to the notion of type. Many earlier ‘types’ were not as much use-adapted as ‘appropriate types’ for a range of reasons, sometimes even contrary to ‘use’. This discussion will explore the interdependency between conceptions of type and perceptions of the theoretical, disciplinary, and practical bases of architecture.Following this, the paper will conclude by drawing the strands together to discuss architectural analysis and the risks and potentials of typology as an analytical operation.
|
|
| 67. |
- Koch, Daniel, 1976-
(författare)
-
Configuration, geometry and spatial choreography
- 2021
-
Ingår i: Architecture, Perception, Curation. - Atlanta : Georgia Institute of Technology. ; , s. 64-66
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Here, I engage with architecture from a perspective related to Judith Butler’s discussion of performativity as structures-in-the making. The relation of local, spatial situatedness to the extended structuring of social relations is of particular interest. This needs to be done with care since, as Nick Kaye notes, architectural space is not a precise enough symbolic system to form statements with distinct meanings, nor abstract and systemic enough to form a structure or lexicon. This leads to an ongoing negotiation of situatedness with space and architecture as active participants. While, for instance, a stage holds a range of possible, probable, and potential meanings and is embedded with sets of (expected and suggested) social relations, the particular meaning of that stage in a particular situation will always-ever be a matter of contextual, situated meaning-making. This does not leave architecture innocent; rather, it is precisely because such situations are dynamic social negotiations that architecture participates in the structural aspects of performativity. I will draw from concrete examples to address the local situatedness of people to one another through architectural configuration and geometry.
|
|
| 68. |
- Koch, Daniel, 1976-
(författare)
-
Consumption as Spatial Practice
- 2007
-
Ingår i: SITE. - Stockholm : SITE. - 1650-7894. ; 18-19, s. 17-18
-
Tidskriftsartikel (refereegranskat)abstract
- Of the French theorists of his generation Jean Baudrillard was perhaps the one most concerned with consumption and the effects of mass production and advertising on contemporary culture. He was one of the major contributors to the establishment of the term consumer society, a term that has grown increasingly relevant in a society such as our “Western” culture where life to the utmost degree is consumption and shopping—a life lived in commercial spaces or defined largely by artifacts bought in commercial spaces and used primarily by being consumed. Perhaps Baudrillard’s early writings are even more relevant and important today than when they were first published, as consumption has become our main form of active identity building and social positioning, where everyone is expected to be ready to describe themselves, in the middle of the street, in term of their choices of styles, only to see their statements printed in free morning papers the next day. Through consumption and the use of symbols such as clothes, furniture, and other cultural or mundane items, we define ourselves, our identities, and our positions in society. At the same time public spaces, to a high degree, have been closed or transformed into commercial spaces. Even public squares, streets, and city centers have been subject to more or less drastic transformations from open space to indoor malls or shopping centers, and the official rhetoric claims that this will make them more available and comfortable. While this rhetoric may be true in intent, the patterns and possibilities of control are intensified, often outsourced to a private entrepreneur. A phenomenon that has led the cultural geographer Sharon Zukin to coin the expression "Pacification through Cappuccino" (The Cultures of Cities). Through the establishing of such places of consumption in parks and other public spaces, the possibilities of action and agency become more limited without the need for official signs or patrolling personnel. Today life is, so to say, lived both through a logic of consumption and in spaces of consumption.
|
|
| 69. |
- Koch, Daniel, 1976-
(författare)
-
Memory, Projection, and Imagination : On challenges for observation and statistics based research
- 2016
-
Ingår i: Contour. - Lausanne : EPFL. - 2297-6906. ; 2, s. 1-15
-
Tidskriftsartikel (refereegranskat)abstract
- Various forms of material, empirical, or observation-based research has grown in importance over the last decade in both architecture and urban design research, in parallel to an increasingly data-driven research utilising an increasing amount and availability of GIS data, tracking technologies, GPS records, and ICT tools. Assemblage theory and Actor-Network Theory have grown strong in several fields, sometimes linked to ‘flat ontology’, as have empirically based fields such as space syntax and geoinformatics. While it is somewhat dubious to bundle these theories together, they there are tendencies in contemporary research in which they can be linked, with more or less explicit intents to cut past perceptions and conventions to look at the world ‘as it is’ and generate understanding from observed behaviours, actions, and the myriads of interactions going on. This has produced a rich body of research and significant advances in knowledge. However, there is also need for pause and reflection, to avoid risks of repeating the mistakes aimed to oust. This article offers a set of such reflections that will come about through a set of examples, leading onwards into a discussion of the role of memory, projection and imagination, as well as the need to consider how to integrate norms and structures into research that often intentionally leaves such concepts out.
|
|
| 70. |
- Koch, Daniel, 1976-
(författare)
-
Narrative, dramaturgy, and spatial choreography : Movement and subjectivity in museum configurations
- 2024
-
Ingår i: Museum Configurations. - New York : Routledge. ; , s. 120-159
-
Bokkapitel (refereegranskat)abstract
- Museum architecture and curatorial exhibition designs structure the experiences and social relations associated with museum visits. Such experiences and relations are generated and qualified by movement. While patterns of movement and social relations in museums are richly studied in configurational research and museum studies respectively, qualitative aspects of movement remain to be more deeply understood – especially in relation to museum configurations. In this chapter, four museums – the Asakura Museum of Sculpture in Tokyo, Artipelag in Stockholm, Kiasma in Helsinki, and the Tokyo Metropolitan Art Museum – are put in dialogue to investigate the qualitative aspects of movement. In the investigation, movement is considered individual, collective, communicative, and performative acts, recognising the entanglement of the observer, the observed, and the participant. Working from the point of view of architecture, choreography is used to qualitatively differentiate types of movement and enrich our understanding of the role of bodies and embodiment by discussing path, figure, and gesture. This is further extended into dramaturgy by investigating rhythm, co-presence, and configurational staging. Choreographic and dramaturgical aspects are important parts of the holistic experience of the museum and exhibition narratives. Fundamental to the visitor reconstruction of museum narratives is the retrieval of synchronic configurational meaning from the sequential patterns in which museum space is initially perceived and experienced. This chapter concludes by making the case for the development of a notational language for describing and designing movement both in its local, directly perceived aspects and its emergent configurations.
|
|
