Telephones, Voice Recorders, Microphones, Phonographs: A Media Archaeology of Sonic Technologies in Twin Peaks

This article argues that sonic technologies, such as telephones, voice recorders and phonographs, alongside more (audio)visual ones such as flickering fluorescent lights, videos, and the television sets are crucial to the world of Twin Peaks, and constitute this world as both a communications network with portals to the unknown, and an accumulation of recordings of ghosted voices and entities, perhaps finding its ultimate expression in the backwards reprocessed speech in the Black Lodge. This lodge can be understood as a space in which there are nothing but recordings, albeit now on a cosmic, spiritual and demonic level. Using a media archaeological approach to these devices in the series, this paper will argue that they were already operating by a media archaeological logic, generating the world of Twin Peaks as a haunted archive of sonic and other mediations.

Towards an Archaeology of Media Ecologies: The Case of Italian Free Radios

This article looks at the contemporary reinvention of the term Media Ecologies in the work of Matthew Fuller, arguing that its provenance is less form Postman's Media Ecology Association andmore form the work of Felix Guattari. It then presents an account of free radios in Italy and France in the 1970s and contemporary pirate radio as exemplary cases of media ecologies in Fuller's sense of the term

Clichy-Batignolles, Paris: a case of successful inner-city regeneration

The third issue of the column deals with the regeneration of inner-city rail station areas. The successful case of Gare Saint-Lazare in Paris is analyzed by Giulio Verdini, an architect and urban planner based in China and Paris. The quality of this recent project is evident at different levels: as an innovative experiment of planning with public consultation, as a new mixed-used neighbourhood organized around a beautiful park, as a collection of interesting contemporary buildings promoted through open architecture competitions. The memory of the old rails has been interpreted as an occasion for creating significant urban connections, and the city of Paris demonstrated again and again its rare capacity to regenerate itself. 内城火车站区域的更新历来不是件轻松的工作,这在1990年代以来诸多的欧洲城市中都已经得到印证.伦敦的国王十字车站和柏林的中央火车站区域都是著名的更新案例,此外还有鹿特丹和斯图加特中央火车站这些争议性的案例,它们都表明了这个更新过程有多么复杂而难料.其原因包括众多相互角力的私人及公众影响、改造带来的未知花费及收益,以及市民群体在其中扮演的越来越重要的角色.这个位于巴黎17区的克里希·巴蒂涅奥勒开发区更新项目同样如此.不过,随着项目的建造渐入佳境,我们愈发可以看出,它很可能会成为欧洲内城最成功的更新案例之一.这篇简要介绍的目的就是勾勒出这一成功案例背后的构思和动机,以展现这个理应矛盾重重而得到未充分利用的地段如何成为让巴黎西北区改头换面的良机.

Architecture, Energy, Matter

This book comprises a collection of essays and an edited selection of the work produced by Design Studio 18 (DS18) tutored by Lindsay Bremner and Roberto Bottazzi, 2013-2016.

Thinking Architecture with an Indian Ocean Aquapelago

This article takes up the charge of thinking architecture with one of the Indian Ocean’s central coral atoll formations, the Maldives archipelago. It is undertaken as a critique of the concept of the archipelago as deployed in architecture since the 1970’s. Architects have used the archipelago as a metaphoric metageographical concept based on a land/sea binary, to conceive of architecture as autonomous from its environments. This permits the discipline exemption from its contexts and frames its engagement with the diverse mobilities of contemporary globalization. To counter this, the article draws from a broad body of literature familiar to readers of GeoHumanities, namely island studies, urban island studies, political ecology and thinking with water to undertake a reading of the Maldives as an oceanic aquapelago, as an alternative metageographical concept for architecture in today’s globalized world.

‘Don’t look down!’: A short history of rooftopping photography

The article examines the practice known as ‘rooftopping photography’ and its significance for the representation of vertical cities. It begins by charting the historical development of architecture as a viewing platform in the age of the camera, and dwells on the imagery of cityscapes from above that emerged in the inter-war period. Against this background, the essay investigates how rooftopping arose out of the urban exploration movement and became a global trend in the early 2010s. This phenomenon is situated within its wider social and cultural context, and is discussed with reference to the online media discourse that contributed to its public visibility. A set of ideas from the philosophy of photography and visual culture inform the critical analysis of rooftopping photographs: this broad and diverse body of images is examined with a focus on two predominant modes of representation—panoramic and plunging views. The affective responses elicited by so-called ‘vertigo-inducing’ images are discussed through the concept of vicarious kinaesthesia, which offers insights into the nexus between visceral experience and visual representation that lies at the core of rooftopping. By unpacking this interplay, the essay explores a phenomenon that has hitherto been given little scholarly attention and reflects on its broader implications for the relationship between photography and architecture today.

Learning Environments in Design Studio Culture

The paper reports on a study of design studio culture from a student perspective. Learning in design studio culture has been theorised variously as a signature pedagogy emulating professional practice models, as a community of practice and as a form of problem-based learning, all largely based on the study of teaching events in studio. The focus of this research has extended beyond formally recognized activities to encompass the student’s experience of their social and community networks, working places and study set-ups, to examine how these have contributed to studio culture and how there have been supported by studio teaching. Semi-structured interviews with final year undergraduate students of architecture formed the basis of the study using an interpretivist approach informed by Actor-network theory, with studio culture featured as the focal actor, enrolling students and engaging with other actors, together constituting an actor-network of studio culture. The other actors included social community patterns and activities; the numerous working spaces (including but not limited to the studio space itself); the equipment, tools of trade and material pre-requisites for working; the portfolio enrolling the other actors to produce work for it; and the various formal and informal events associated with the course itself. Studio culture is a highly charged social arena: The question is how, and in particular, which aspects of it support learning? Theoretical models of situated learning and communities of practice models have informed the analysis, with Bourdieu’s theory of practice, and his interrelated concepts of habitus, field and capital providing a means of relating individually acquired habits and modes of working to social contexts. Bourdieu’s model of habitus involves the externalisation through the social realm of habits and knowledge previously internalised. It is therefore a useful model for considering whole individual learning activities; shared repertoires and practices located in the social realm. The social milieu of the studio provides a scene for the exercise and display of ‘practicing’ and the accumulation of a form of ‘practicing-capital’. This capital is a property of the social milieu rather than the space, so working or practicing in the company of others (in space and through social media) becomes a more valued aspect of studio than space or facilities alone. This practicing-capital involves the acquisition of a habitus of studio culture, with the transformation of physical practices or habits into social dispositions, acquiring social capital (driving the social milieu) and cultural capital (practicing-knowledge) in the process. The research drew on students’ experiences, and their practicing ‘getting a feel for the game’ by exploring the limits or boundaries of the field of studio culture. The research demonstrated that a notional studio community was in effect a social context for supporting learning; a range of settings to explore and test out newly internalised knowledge, demonstrate or display ideas, modes of thinking and practicing. The study presents a nuanced interpretation of how students relate to a studio culture that involves a notional community, and a developing habitus within a field of practicing that extends beyond teaching scenarios.