Enhancing well-being in Iranian residential dwellings by exploring traditional techniques for using daylight in Iranian courtyard houses

Dans les dernières décennies, les changements morphologiques des maisons iraniennes, l’arrivage de l'éclairage artificiel et le manque de connaissance suffisante de la valeur de la lumière du jour pour le bien-être des occupants ont résulté une diminution de l'utilisation de la lumière du jour dans les habitations iraniennes contemporaines. En conséquence, le niveau du bien-être des occupants a décru ce qui peut être corrélée avec la diminution de l'utilisation de la lumière du jour. Considérant l'architecture traditionnelle iranienne et l'importance de la lumière du jour dans les habitations traditionnelles, cette recherche étudie l’utilisation de la lumière du jour dans les habitations traditionnelles et explore comment extrapoler ces techniques dans les maisons contemporaines pourrait augmenter l'utilisation de la lumière du jour et par conséquence améliorer le bien-être des occupants. Une revue de littérature, une enquête des experts iraniens et une étude de cas des maisons à cour traditionnelles à la ville de Kashan ont permis de recueillir les données nécessaires pour cette recherche. De par le contexte de recherche, la ville de Kashan a été choisie particulièrement grâce à sa texture historique intacte. L’analyse de la lumière du jour a été faite par un logiciel de simulation pour trois maisons à cour de la ville de Kashan ayant les mêmes caractéristiques de salon d’hiver. Cette étude se concentre sur l’analyse de la lumière du jour dans les salons d'hiver du fait de la priorité obtenue de l'enquête des experts et de la revue de littérature. Les résultats de cette recherche montrent que l’extrapolation des techniques traditionnelles de l'utilisation de lumière du jour dans les habitations modernes peut être considéré comme une option de conception alternative. Cette dernière peut optimiser l'utilisation de lumière du jour et par conséquence améliorer le bien-être des occupants. L'approche utilisée dans cette recherche a fourni une occasion d’étudier l'architecture du passé et d’évaluer plus précisément son importance. Cette recherche contribue ainsi à définir un modèle en tirant les leçons du passé pour résoudre les problèmes actuels.

Photography, desire and resistance in the lives of women, following the 1979 revolution in Iran

In my last four years of PhD by practice at the Royal College of Art, I have conducted extensive research on archival photography including materials held at the Museum der Weltkulturen, Frankfurt am Main; the Institute for Iranian Contemporary Historical Studies (IICHS) , Tehran; and the International Institute of Social History (IISH), Amsterdam. My project started with the fortuitous encounter with a photograph taken by Iranian photographer Hengameh Golestan on the morning of March 8, 1979. The photograph shows women marching in the streets of Teheran in protest against the introduction of the compulsory Islamic dress code. In 1936 Reza Shah had decreed a ban on the headscarf as part oh his westernising project. Over forty years later following the 1979 Revolution, Ruhollah Khomeini reversed this decision by ordering that women should now cover their hair. This ‘found image’ presented me with a glimpse into the occulted history of my own country and the opportunity to advance towards a deeper learning and understanding of the event of March 8, 1979 a significant date in the history of feminism in Iran. In what follows I revisit the history of Iran since the 1979 revolution with a particular inflexion on the role women played in that history. However, as my project develops , I gradually move away from the socio-historical facts to investigate the legacy of the revolution on the representations of women in photography, film and literature as well as the creation of an imaginary space of self representation. To this end my writing moves constantly between the documentary, the analytical and the personal. In parallel I have made photographs and video works which are explorations of the veil as object of fascination and desire as well as symbol of repression.

Criação do espaço de habitar como um processo colaborativo

A criação do espaço de habitar está na origem do Homem. Através do seu entendimento da paisagem, o Homem foi ao longo dos tempos adaptando o seu espaço segundo as suas atividades e necessidades específicas. Desde o abrigo até à casa contemporânea, novas formas foram sendo criadas e adaptadas, acompanhando a evolução humana, baseada nas novas formas, atividades e requisitos definidos na realização pessoal. Numa época onde os requisitos habitacionais são cada vez mais estritos na garantia de um conforto e segurança padronizada, verificamos a existência de díspares formas de habitar. Juntamente com a valorização contemporânea dos direitos humanos podemos entender grande parte da população não tem o devido acesso a espaços verdadeiramente adaptados aos seus requisitos de habitar. Socialmente encerrados em torno de uma civilização globalizada, vivemos cúmplices de uma desigualdade social, que não consegue garantir o direito a uma habitação adequada para todos. Desta forma procura-se perceber as causas das falhas no cumprimento dos direitos humanos fundamentais e das desigualdades no sector habitacional. Entendendo o papel fundamental das populações e do sector da construção na criação dos seus habitares e tentando esclarecer o papel fundamental da arquitetura na requalificação dos espaços de habitar, oferecendo soluções e formas práticas acessíveis a todos os habitantes para a construção de um futuro sustentável, adaptado e dignificante da vida humana; ABSTRACT: The creation of the space of inhabiting is in the Man’s origin, through his under- standing of the landscape, the Man was along the times adapting his space second their activities and specific needs. From the shelter to the contemporary house, new forms were being created and adapted, accompanying the human evolution, based on the new forms, activities and defined requirements in the personal accomplishment. In a time where the habitational requirements are more and more strict in the warranty of a comfort and standardized safety, we verified the existence of disparate ways of inhabiting. Together with the contemporary valorization of the human rights we can understand great part of the population doesn’t have the access to spaces truly adapted to their requirements of inhabiting. This way we try to notice the causes of the flaws in the execution of the fundamental human rights and of the inequalities in the habitational sector. Understanding the fundamental paper of the populations and of the construction sector in the creation of our inhabit and trying to explain the fundamental paper of the architecture in the qualification of the spaces of inhabiting, offering solutions and accessible practical forms to all of the inhabitants for the construction of a maintainable future, adapted and dignifying the human life

Fort William-India House correspondence and other contemporary papers relating thereto.

Vol. 5 issued by India (Dominion) National Archives.

English house design, a review : being a selection and brief analysis of some of the best achievements in English domestic architecture from the 16th to the 20th centuries, together with numerous examples of contemporary design /

Mode of access: Internet.

Iranian asset controls : hearing before the Subcommittees on Europe and the Middle East and on International Economic Policy and Trade of the Committee on Foreign Affairs, House of Representatives, Ninety-sixth Congress, second session, May 8, 1980.

Mode of access: Internet.

Embers, with The failures, The gargoyle, In his house, Madonna, The man masterful : one-act plays of contemporary life /

Mode of access: Internet.

Verbaliser l’indicible : une étude de l’expérience de la «vibe» dans la scène underground-house de Montréal

Ce mémoire propose une analyse du discours et de l’expérience corporelle des adeptes de la scène musicale électronique underground-house de Montréal. Il cherche à contribuer au champ des études sur les formations culturelles expressives contemporaines sur deux axes. Sur le plan méthodologique, cette recherche illustre la portée de l’entretien d’explicitation lorsqu’il s’agit d’accompagner la mise en mots d’impressions sensorielles, d’émotions, de pensées ou d’actions. Combinée à une démarche immersive de longue haleine sur le terrain, cette méthode innovante développée par le chercheur Pierre Vermersch (1994) s’avère ici un outil rigoureux donnant accès à la mémoire incarnée des sujets, laquelle regorge d’informations d’une étonnante précision. Sur le plan ethnographique, cette étude s’intéresse aux nouveaux espaces de solidarité et d’expression balisant l’expérience des Québécois de parents haïtiens issus des classes moyenne et moyenne élevée. Les résultats de cette recherche démontrent, en premier lieu, que l’expérience de la « vibe », expression idiomatique largement utilisée par les acteurs, constitue la clé de voûte maintenant la cohésion entre les représentations, les croyances et les activités corporelles des participants. En deuxième lieu, la scène underground-house se présenterait comme l’expression d’une nouvelle contre-culture en établissant une distance critique avec, d’une part, la « culture hip hop » commerciale et sa représentation médiatique « ghettoïsée » et, d’autre part, l’espace culturel dominant en promouvant une expérience de corps et d’esprit subversive. Cet espace de transmission et de communion inédit propose des modèles de sociabilités nouveaux qui contribuent de manière inusuelle au dialogue interculturel urbain montréalais.

Imagining migration: Placing children's understanding of 'moving house' in Malawi and Lesotho

Research pertaining to children's geographies has mainly focused on children's physical experiences of space, with their 'imagined geographies' receiving far less attention. The few studies of children's imagined geographies that exist tend to focus on children's national identities and their understanding of distant places. However, children's lives are not necessarily static and they often move between places. Research has not so far considered children's images of these transitional spaces or how such images are constructed. Through an examination of over 800 thematic drawings and stories, regarding 'moving house, produced by children aged 10-17 years in urban and rural communities of Lesotho and Malawi, this paper explores southern African children's representations of migration. The research considers how ideas of migration are culturally-constructed based on notions of family, home and kinship, particularly in relation to the fluid family structure characteristic of most southern African societies. The results suggest that most children imagine migration as a household rather than an individual process.. rarely including micro -migrations between extended family households in their drawings. Further, children's images of migration are place-rooted in everyday life experiences. Their representations concentrate on the reasons for migration, both negative and positive, which are specifically related to their local social and environmental situations and whether house moves take place locally or over longer distances. The paper concludes by exploring the implications of these conceptualisations of moving house for children's contemporary migration experiences, particularly in light of changing family structures due to the effects of the HIV/AIDS pandernic. (c) 2005 Elsevier Ltd. All rights reserved

Imagining migration: Placing children's understanding of 'moving house' in Malawi and Lesotho

Research pertaining to children's geographies has mainly focused on children's physical experiences of space, with their 'imagined geographies' receiving far less attention. The few studies of children's imagined geographies that exist tend to focus on children's national identities and their understanding of distant places. However, children's lives are not necessarily static and they often move between places. Research has not so far considered children's images of these transitional spaces or how such images are constructed. Through an examination of over 800 thematic drawings and stories, regarding 'moving house, produced by children aged 10-17 years in urban and rural communities of Lesotho and Malawi, this paper explores southern African children's representations of migration. The research considers how ideas of migration are culturally-constructed based on notions of family, home and kinship, particularly in relation to the fluid family structure characteristic of most southern African societies. The results suggest that most children imagine migration as a household rather than an individual process.. rarely including micro -migrations between extended family households in their drawings. Further, children's images of migration are place-rooted in everyday life experiences. Their representations concentrate on the reasons for migration, both negative and positive, which are specifically related to their local social and environmental situations and whether house moves take place locally or over longer distances. The paper concludes by exploring the implications of these conceptualisations of moving house for children's contemporary migration experiences, particularly in light of changing family structures due to the effects of the HIV/AIDS pandernic. (c) 2005 Elsevier Ltd. All rights reserved

Vivienda y Revolución. El Concurso entre Camaradas de la OSA, la Sección de Tipificación del Stroykom y la Casa Experimental de Transición Narkomfin (1926-1930) = Housing and Revolution. OSA’s Comradely Competition, Typification Section of the Stroykom and Narkomfin Experimental Transitional House (1926-1930)

La cuestión del asentamiento socialista en la URSS durante la década de 1920 estuvo caracterizada por el objetivo de definir y establecer un estado socialista en términos políticos, sociales y económicos. En este contexto de inestabilidad y cambio, un grupo de arquitectos pertenecientes a la Asociación de Arquitectos Contemporáneos, OSA, y liderado por Moisey Ginzburg, abordó el tema de la vivienda obrera asumiendo la responsabilidad y el compromiso por alcanzar un nuevo orden social. Su misión no consistió únicamente en solucionar el problema del alojamiento para los trabajadores en las grandes ciudades soviéticas, sino en redefinirlo como el marco adecuado para una sociedad sometida a un cambio sin precedentes que, al mismo tiempo y en un proceso dialéctico, debía contribuir a la construcción de esa nueva sociedad. La respuesta dada por la OSA trascendió el diseño inmediato bajo los estándares modernos establecidos en Occidente y tomó forma en un proceso de investigación que habría de prolongarse durante cinco años. Este trabajo, que culminó con la construcción y puesta en crisis de la Casa Narkomfin, se desarrolló en tres aproximaciones sucesivas. La primera, de carácter conceptual, consideró la participación ciudadana, así como de especialistas independientes, formalizándose en el Concurso entre Camaradas convocado por la OSA en 1926. La segunda aproximación al problema de la vivienda obrera se articuló a través de la investigación llevada a cabo por la Sección de Tipificación del Stroykom, esta vez desde premisas científicas y metodológicas. Finalmente, las conclusiones alcanzadas fueron transferidas a la práctica arquitectónica por medio de la construcción de seis Casas Experimentales de Transición, entre las que destacó la Casa Narkomfin. Este último acercamiento, de carácter empírico, ha sido tradicionalmente examinado por los expertos como un hecho aislado. Sin embargo, su estudio debe trascender necesariamente el genio del autor-creador en favor del proceso de investigación al que pertenece. En esta tesis, la Casa Narkomfin no se presenta sólo como el paradigma de vivienda soviética de vanguardia al que estamos acostumbrados, sino como un prototipo que recoge los principios y conclusiones alcanzados en las aproximaciones conceptuales y científicas precedentes. Únicamente desde este punto de vista cobra sentido la consideración de Ginzburg sobre su propio edificio como un medio propositivo y no impositivo: un proyecto concebido como una herramienta de transición hacia una sociedad más avanzada. ABSTRACT The question of mass housing in the USSR during the Twenties was marked by the drive to define and establish a socialist state in political, social and economic terms. In this context of instability and change, a group of architects gathered together under the Association of Contemporary Architects, OSA, led by Moisey Ginzburg, to address the issue of mass housing, thus taking on the responsibility and being committed to creating a new social order. Their quest not only involved solving the problem of housing for workers in large Soviet cities, but also redefining this solution as an appropriate framework for a society undergoing dramatic changes which, at the same time and in a dialectical process, would contribute to the creation of this new society. The solution provided by OSA transcended Modern standards of immediate design set by the West and was the result of a research process that would last five years. This work culminated in the construction of Narkomfin House and its self-criticism, developed in three successive approaches. The first was conceptual, being formalized in the Comradely Competition held by the OSA in 1926 and taking into account the participation of citizens and independent experts. The second approach to the problem of mass housing involved research developed by the Typification Section of the Stroykom, this time under scientific and methodological premises. Finally, the conclusions reached were put in practice with the construction of six Experimental Transitional Houses of which the most notable is Narkomfin House. This third empirical approach has traditionally been examined by scholars in isolation. However, its study must necessarily transcend the genius of the author-creator and involve the research process of which it is part. In this thesis, Narkomfin House is presented not only as the paradigm in Soviet housing avant-garde we are used to, but also as a prototype reflecting the principles and conclusions reached in the preceding conceptual and scientific approaches. Only from this point of view does Ginzburg’s understanding of his own building as a proactive and non-imposed environment make sense: a project conceived as a transition tool towards a more advanced society.