Curating architecture and the city

Addressing the collection, representation and exhibition of architecture and the built environment, this book explores current practices, historical precedents, theoretical issues and future possibilities arising from the meeting of a curatorial ‘subject’ and an architectural ‘object’. Striking a balance between theoretical investigations and case studies, the chapters cover a broad methodological as well as thematic range. Examining the influential role of architectural exhibitions, the contributors also look at curatorship as an emerging attitude towards the investigation and interpretation of the city. International in scope, this collection investigates curation, architecture and the city across the world, opening up new possibilities for exploring the urban fabric.

An architectural approach to autonomics and self-management of automotive embedded electronic systems

Embedded electronic systems in vehicles are of rapidly increasing commercial importance for the automotive industry. While current vehicular embedded systems are extremely limited and static, a more dynamic configurable system would greatly simplify the integration work and increase quality of vehicular systems. This brings in features like separation of concerns, customised software configuration for individual vehicles, seamless connectivity, and plug-and-play capability. Furthermore, such a system can also contribute to increased dependability and resource optimization due to its inherent ability to adjust itself dynamically to changes in software, hardware resources, and environment condition. This paper describes the architectural approach to achieving the goals of dynamically self-configuring automotive embedded electronic systems by the EU research project DySCAS. The architecture solution outlined in this paper captures the application and operational contexts, expected features, middleware services, functions and behaviours, as well as the basic mechanisms and technologies. The paper also covers the architecture conceptualization by presenting the rationale, concerning the architecture structuring, control principles, and deployment concept. In this paper, we also present the adopted architecture V&V strategy and discuss some open issues in regards to the industrial acceptance.

A novel neural/symbolic hybrid approach to heuristically optimized fuel allocation and automated revision of heuristics in nuclear engineering

FUELCON is an expert system for optimized refueling design in nuclear engineering. This task is crucial for keeping down operating costs at a plant without compromising safety. FUELCON proposes sets of alternative configurations of allocation of fuel assemblies that are each positioned in the planar grid of a horizontal section of a reactor core. Results are simulated, and an expert user can also use FUELCON to revise rulesets and improve on his or her heuristics. The successful completion of FUELCON led this research team into undertaking a panoply of sequel projects, of which we provide a meta-architectural comparative formal discussion. In this paper, we demonstrate a novel adaptive technique that learns the optimal allocation heuristic for the various cores. The algorithm is a hybrid of a fine-grained neural network and symbolic computation components. This hybrid architecture is sensitive enough to learn the particular characteristics of the ‘in-core fuel management problem’ at hand, and is powerful enough to use this information fully to automatically revise heuristics, thus improving upon those provided by a human expert.

L'histoire assassinee: Manfredo Tafuri and the present

Italian historian Manfredo Tafuri develops his ‘historical project’ in architecture during the 1960’s and 1970’s in three seminal books, which reach the English speaking specialist audience with a certain delay. Histories and Theories of Architecture (1968), which prepares the ground for the redefinition of a critical and independent history of architecture is first translated in English in 1979. Architecture and Utopia (Progetto e utopia, 1973) is translated in 1976, and becomes a point of reference for architectural histories and for the definition of architectural theories, mainly in the United States. The Sphere and the Labyrinth (1980), translated in 1987, is the text which formally defines and presents the ‘historical project’. Tafuri’s dense and highly politicized prose is often subjected in the English versions to numerous simplifications and reductive interpretations. Yet, the time lag and the space between languages that these translations occupy are inhabited by polemical and fertile reactions to the texts from the world of architectural design. Symptomatic of all, Aldo Rossi’s L’architecture assassinée, a rebuke in drawing to some of Tafuri’s remarks in Architecture and Utopia that seemed to suggest -but the interpretation is arguable– the ‘death’ of architecture as project (progetto). Tafuri’s texts instigate a dialogue between architectural history and practice, particularly relevant at a time in the development of the discipline when history was being redefined in its critical role as a ‘project’ –thus appropriating the active and propositional role traditionally assigned to architectural design–, while architectural design –still coping with the legacy of Modernism and with changed production systems- often found itself relegated to the paper of exhibitions, competitions and theoretical projects. This paper explores the relationship between architectural history and design in Tafuri’s work, focusing on recent reconsideration and interpretations of his work. It argues that, beyond instrumental simplifications, Tafuri’s ‘project’ remains active and essential in architecture’s critical culture today.

Spaces of observation and obscurity: cinematic prisons of light and dark

In The Eye of Power, Foucault delineated the key concerns surrounding hospital architecture in the latter half of the eighteenth century as being the ‘visibility of bodies, individuals and things'. As such, the ‘new form of hospital' that came to be developed ‘was at once the effect and support of a new type of gaze'. This was a gaze that was not simply concerned with ways of minimising overcrowding or cross-contamination. Rather, this was a surveillance intended to produce knowledge about the pathological bodies contained within the hospital walls. This would then allow for their appropriate classification. Foucault went on to describe how these principles came to be applied to the architecture of prisons. This was exemplified for him in the distinct shape of Bentham's panopticon. This circular design, which has subsequently become an often misused synonym for a contemporary culture of surveillance, was premised on a binary of the seen and the not-seen. An individual observer could stand at the central point of the circle and observe the cells (and their occupants) on the perimeter whilst themselves remaining unseen. The panopticon in its purest form was never constructed, yet it conveys the significance of the production of knowledge through observation that became central to institutional design at this time and modern thought more broadly. What is curious though is that whilst the aim of those late eighteenth century buildings was to produce wellventilated spaces suffused with light, this provoked an interest in its opposite. The gothic movement in literature that was developing in parallel conversely took a ‘fantasy world of stone walls, darkness, hideouts and dungeons…' as its landscape (Vidler, 1992: 162). Curiously, despite these modern developments in prison design, the façade took on these characteristics. The gothic imagination came to describe that unseen world that lay behind the outer wall. This is what Evans refers to as an architectural ‘hoax'. The façade was taken to represent the world within the prison walls and it was the façade that came to inform the popular imagination about what occurred behind it. The rational, modern principles ordering the prison became conflated with the meanings projected by and onto the façade. This confusion of meanings have then been repeated and reenforced in the subsequent representations of the prison. This is of paramount importance since it is the cinematic and televisual representation of the prison, as I argue here and elsewhere, that maintain this erroneous set of meanings, this ‘hoax'.

Venetian time and the meander

Argues that the past is necessary to architectural modernity for its self-definition. Goes on to look at Le Corbusier and the past in relation to his revolutionary architectural manifesto, 'Vers une architecture' (1923), and his and Tafuri's views on Venice. Also considers Le Corbusier's 'law of meander' as a strategy for urbanism and his Venice Hospital project