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Resumo:
Dipoli es un edificio plurifuncional localizado en el campus de Otaniemi que acoge los servicios generales del alumnado. Tanto encargo como propiedad perteneca, hasta 2013, a la Asociacin de Estudiantes de Helsinki University of Technology TKK (actualmente conocida como Aalto University), cuando se vendi y traspas a la propia universidad. La tesis estudia este proyecto (1961-66) como uno de los ejemplos ms significativos de la obra de los arquitectos Reima (1923-93)y Raili Pietil (1926-), quienes se unieron tanto personal como profesionalmente el mismo ao de la convocatoria del concurso (1961). Debido a la dificultad del encargo por la dimensin y flexibilidad de los espacios requeridos, el primer premio qued desierto puesto que ninguna propuesta cumpla con todos los requisitos establecidos. El jurado otorg el segundo premio a su proyecto junto con Osmo Lappo y solicit posteriormente a ambos un desarrollo ms profundo del mismo. Finalmente optaron por construir el edificio planteado por los Pietil. En l deba desarrollarse un amplio abanico de actividades sociales como reuniones, entretenimiento nocturno, actuaciones, proyecciones de pelculas, cenas y bailes, as como servir de comedor durante los meses de invierno y espacio destinado a congresos en la poca estival. Adems, en dicho edificio se pretenda acoger el Sindicato de Estudiantes de la Universidad Tecnolgica de Helsinki y se localizara en el nuevo campus de Otaniemi a escasos kilmetros de la capital, donde Alvar Aalto ya estaba diseando varios equipamientos universitarios siguiendo el planeamiento general que proyect en el concurso de 1949. El elemento ms caracterstico de este proyecto es la cubierta, una estructura continua formada a partir de un caparazn hueco de hormign in situ capaz de absorber dos lenguajes diferentes y generar, bajo ella, un espacio singular con multitud de posibilidades funcionales. Su geometra permite dividir el programa en estancias de menor tamao sin perder ni la identidad ni unidad formal. La manera en que se iluminan los espacios bajo ella se consigue de formas diferentes: si bien la volumetra de lneas cartesianas presenta un sistema de aperturas longitudinales por donde penetra la luz cenital, en la forma ms libre aparecen un conjunto de lucernarios de diferente tamaos y posiciones aparentemente aleatorias que introducen la luz natural por el plano del techo de forma ms controlada, apoyada por la disposicin de las ventanas perimetrales. El juego de espesores de la cubierta ofrece un conjunto de matices que pretenden resolver los tres condicionantes principales del proyecto, la adecuacin de los usos en su interior, la compatibilidad de circulaciones de los usuarios y la insercin en el lugar. La percepcin de este plano horizontal atraviesa lecturas mltiples, desde su uso primario de cubricin y cuya distancia con el plano del suelo se comprime para tensionar la grieta de luz al tiempo que ofrece nuevas relaciones con el paisaje hasta convertirse en fachada al apoyarse en el suelo y crear un lmite fsico entre interior y exterior. El objetivo fundamental de la tesis es entender mejor la traza particular de Dipoli desde una visin rigurosa que ample el conocimiento del edificio y al mismo tiempo explique el espacio propuesto a travs de las diferentes herramientas de proyecto. Para ello se ha elaborado una documentacin de la obra que parte de recopilar, seleccionar y redibujar la informacin existente desde el estado previo a la construccin del objeto terminado. El sentido de volver al Centro de Estudiantes de Otaniemi, supone, adems de ayudar a comprender el trabajo de sus autores, entender el proceso de la historia de la arquitectura finlandesa y detectar relaciones con otras obras ms lejanas con las que pudiese compartir ciertos valores, facilitando un entendimiento ms global de la historia. Esta investigacin se inicia desde la hiptesis que la forma final del edificio y su relacin con el lugar, para proponer un tipo de arquitectura que confa en la observacin sensible del programa, del uso, de las escalas de los espacios, del movimiento de las personas y su relacin y anclaje con el lugar. Y en este sentido, el trabajo se desarrolla guiado por estos aspectos que se manifiestan tambin desde la influencia y comprensin de otros trabajos propios y ajenos. Para detectar las claves de proyecto que les han permitido la construccin espacial y formal de su arquitectura, entendiendo stas como el conjunto de herramientas y mecanismos que reflexionan sobre una particular composicin volumtrica y espacios dinmicos que ofrecen un aspecto exterior expresivo, la tesis se articula sobre dos captulos principales Contextos y Proyecto y Construccin donde se quiere estudiar el proyecto en su forma ms completa. Esta pareja de apartados aborda la descripcin del marco temporal, fsico, cultural, personal y profesional de los arquitectos, el anlisis y sntesis de la propuesta y, por ltimo, la repercusin del proyecto. Contextos pretende ubicar la obra adems de facilitar la comprensin del conjunto de aspectos y condicionantes que determinaron la materializacin de Dipoli. Este captulo se subdivide a su vez en cinco apartados: Contexto Histrico, Fsico y Cultural, Personal, Profesional e Incidencia de Dipoli. El Contexto histrico se centra en la descripcin pormenorizada del conjunto de situaciones que influyen en el arquitecto cuando se toman decisiones durante el proceso de proyectar. El objetivo es definir los condicionantes que pueden haber afectado directa o indirectamente la obra. El captulo comienza subrayando los temas de inters comunes para el resto de sus homlogos finlandeses. Principalmente se centra en la dcada de 1950 como etapa previa a la gestacin de Dipoli. Tambin atiende el proceso de evolucin de la arquitectura finlandesa desde finales del S.XIX unido a la crisis de identidad nacional que el maestro Alvar Aalto superar por sus obras pero tambin por su personalidad y supondr una gran sombra al resto de sus compaeros en el marco nacional e internacional provocando una reaccin contraria a sus proyectos y persona entre el resto de arquitectos. Por este motivo, al tiempo que se gestaba el proyecto de Dipoli emergieron un grupo de profesionales que defendan fuertemente las trazas cartesianas del racionalismo como Aulis Blomstedt o Juhani Pallasmaa y que consiguieron abrir una nueva perspectiva intelectual. Por tanto ser inevitable que la presencia del maestro nrdico Alvar Aalto aparezca a lo largo de toda la tesis, permitindonos un mejor entendimiento de la carga orgnica y humana de sus trabajos desde la perspectiva de los Pietil. Posteriormente este captulo desgrana aquellos intereses que dominaban el marco arquitectnico internacional y que pudieron influir en las soluciones planteadas. Dipoli ser puesto en relacin a diversas arquitecturas contemporneas que presentan un enfoque diferente al esbozado por el Movimiento Moderno y cuyo marco de referencias guarda algn tipo de relacin con los mismos temas de proyecto. Es el caso del grupo Team 10 o determinados ejemplos de arquitectos alemanes como Hugo Hring y Hans Scharoun, incluso puntos en comn con el sistema constructivista del vanguardismo sovitico. Estas relaciones con otras arquitecturas matizan su carcter singular e incluso se revisa en qu medida esta propuesta amplifica los aspectos que comparten. En cuanto al Contexto fsico y cultural, una primera aproximacin al mbito donde el edificio se sita nos revela las caractersticas generales de un lugar claramente diferente a la ubicacin del resto de edificios del campus. A continuacin se adentra en el origen del nuevo centro universitario desde el planeamiento urbanstico de Alvar Aalto y revela tanto la forma de disponer las construcciones como las propuestas que el maestro haba desarrollado con anterioridad a la convocatoria del concurso. Adems aqu se destacan aquellos aspectos que propiciaron la eleccin del solar. Prosigue adentrndose en el programa propuesto por el jurado entre cuyos miembros se encontraba el propio Aalto- y el anlisis de las propuestas presentadas por cada uno de los arquitectos que obtuvieron una mencin. Por ltimo, se estudian y definen las obras ms relevantes localizadas en el entorno fsico del proyecto y que existan con anterioridad, destacando principalmente el trabajo de los Siren (Heikki y Kaija) y Alvar Aalto por los motivos desarrollados en el punto anterior. Prosigue con el Contexto Personal donde se seleccionan de datos biogrficos que expliquen, en parte, las circunstancias personales que perfilaron su manera de entender la arquitectura y que consecuentemente influyeron en su camino intelectual hasta llegar a Dipoli. A continuacin se indaga en la relacin profesional y personal con Raili Paatelainen para establecer en qu medida participaron ambos en la propuesta. Este apartado concluye con el estudio de la etapa docente que profundiza en los temas de proyecto que Pietil presentaba a los alumnos en sus clases de proyectos. En el proceso de comprensin de la evolucin terica y proyectual de los arquitectos se considera imprescindible la revisin de otros edificios propios que se enmarcan en el Contexto profesional. stos forman parte de la etapa de mayor actividad del estudio como son el Pabelln de Finlandia para la Exposicin de Bruselas (1956-58), la Iglesia de Kaleva en Tampere (1959-66) y el Pabelln Nrdico para la Bienal de Venecia de 1960. Se completa la visin de estos tres ejemplos previos a Dipoli desde las investigaciones tericas que realiz de forma paralela y que se difundieron a travs de varias exposiciones. Nos centraremos en aquellas tres que fueron ms relevantes en la madurez del arquitecto (Morfologa y Urbanismo, La Zona y Estudios Modulares) para establecer relaciones entre unos aspectos y otros. En esta seccin no se pretende realizar un anlisis en profundidad, ni tampoco recoger la mayor parte de la obra de los Pietil, sino ms bien revelar los rasgos ms significativos que faciliten el entendimiento de los valores anteriormente mencionados. Por ltimo, Incidencia de Dipoli se refiere a la repercusin del edificio durante su construccin y finalizacin. Desde esta premisa, recoge el conjunto de crticas publicadas en las revistas de mayor difusin internacional que decidieron mostrar la propuesta adems desde el propio inters del proyecto, por tratarse de un arquitecto reconocido internacionalmente gracias a la repercusin que obtuvieron sus proyectos anteriores. Se analiza el contenido de los artculos para establecer diversos encuentros con el captulo Contextos y con los propios escritos de Pietil. Tambin se recogen las opiniones de crticos relevantes como Kenneth Frampton, Bruno Zevi o Christian Norberg-Schulz, destacando aquellos aspectos por los que mostraron un inters mayor. Tambin se recoge y valora la opinin de sus homlogos finlandeses y que contradictoriamente se sita en el polo opuesto a la del juicio internacional. Se adentra en las situaciones complejas que propici el rechazo del edificio al desvincularse por completo de la corriente racionalista que dominaba el pensamiento crtico fins unido a la bsqueda de nuevas alternativas proyectuales que les distanciase del xito del maestro Alvar Aalto. Pretende esclarecer tanto la justificacin de dichos comentarios negativos como los motivos por los cuales Reima y Raili no obtuvieron encargos durante casi diez aos, tras la finalizacin de Dipoli. Nos referiremos tambin a la propia opinin de los arquitectos. Para ello, en el apartado Morfologa Literal se recoge el texto que Reima Pietil public en el nmero 9 de la revista Arkkitehti para contrarrestar las numerosas crticas recibidas. Se subraya aquellos aspectos de proyecto que inciden directamente en la percepcin y razn de ser de la propuesta. Por ltimo, se manifiesta la valoracin crtica de dos personas muy prximas al entorno personal y profesional de los Pietil: Roger Connah y Malcolm Quantrill. Ambas figuras son las que han adentrado en el trabajo de los arquitectos con mayor profundidad y aportado una visin ms completa del contexto arquitectnico de Finlandia en el s.XX. Se han interesado principalmente por el conocimiento morfolgico que les ha llevado a la observacin de los fenmenos de la naturaleza. Se apunta tambin la falta de objetividad de sus opiniones originadas en parte por haber colaborado profesionalmente y ser amigo ntimo de la familia respectivamente. El valor de la documentacin aportada por ambos reside principalmente en la fiel transmisin de las explicaciones del propio Pietil. El ltimo captulo Proyecto y Construccin engloba tanto la descripcin exhaustiva del proyecto como el anlisis de la obra. Al tiempo que se explica la propuesta, se establecen continuamente relaciones y paralelismos con otras arquitecturas que ayudan a entenderla. Para ello, se establecen tres apartados elementales: El lugar, Programa y geometras y Presencia y materialidad fsica y se pretende identificar aquellas herramientas de proyecto en las que confa para la materializacin de la obra al tiempo que se profundiza en la evolucin de la propuesta. En cuanto a El lugar, se describe de manera pormenorizada el recorrido hasta alcanzar el edificio y cmo la mirada atenta de la naturaleza que lo rodea est continuamente presente en todos los dibujos de la propuesta. Se realiza un estudio tanto de la multiplicidad de accesos como del vaco existente en planta baja que forma parte del espacio pblico y que atraviesa el edificio diagonalmente. Desde aqu se evaluar los espacios intermedios existentes que matizan los mbitos donde se desarrolla cada una de las actividades. A continuacin se enfoca el estudio de la ventana como elemento relevante en la transicin de espacios interiores y exteriores para posteriormente adentrarnos en la importancia de los recorridos en la planta superior y cmo las salas polivalentes se acomodan a estos. Programas y geometras explica la solucin y desarrollo de la propuesta a travs de los tanteos de la planta. Detecta simultneamente aquellos aspectos que aparecen en otros proyectos y que pueden haber influido en el desarrollo de la obra. Una vez que han sido estudiados los dos niveles se introduce la seccin para analizar las conexiones entre ambos planos, destacando los tipos de escaleras y accesos que propician la multiplicidad de recorridos y en consecuencia el movimiento de las personas. En el ltimo apartado se identifica la geometra de la estructura a travs de la descripcin formal de la cubierta y sus apoyos en planta para conocer cmo responde el volumen definitivo a la adecuacin de los usos. El carcter del edificio a travs del empleo de los materiales y las tcnicas de construccin utilizadas se indaga desde la Materialidad fsica. Este punto de vista esclarece temas de proyecto como la relacin multisensorial de Dipoli y el concepto del tiempo relacionado con espacios de carcter dinmico o esttico. Una vez se ha realizado un anlisis de la obra construida a travs de sus recorridos, se plantea un ltimo regreso al exterior para observar la presencia del edificio a travs de su tamao, color y texturas. Este apartado nos mostrar la mirada atenta a la escala del proyecto como vector de direccin que pretende encontrar la insercin adecuada del edificio en el lugar, cerrando el proceso de proyecto. El motivo de desarrollar esta tesis en torno a Dipoli se apoya en su consideracin como paradigma de una arquitectura que confa en la observacin sensible del programa, uso, las escalas de los espacios, circulaciones y su relacin y anclaje con el lugar como argumentos fundamentales de proyecto, cuya realidad concreta consigue situar la propuesta en el marco histrico de la arquitectura nrdica e internacional. Adems la distancia histrica desde mundo actual respecto a la dcada de los aos 60 del s.XX nos permite entender el contexto cultural donde se inserta Dipoli que contina nuestra historia reciente de la arquitectura y concibe la obra construida como una extensin de nuestro mundo contemporneo. Por ello se valora el proyecto desde la mirada hacia atrs que analiza las diferencias entre la realidad construida y las intenciones de partida. Esta revisin dotada de una distancia crtica nos permite adentrarnos en la investigacin de manera objetiva. Igualmente presenta una distancia histrica (referida al tiempo transcurrido desde su construccin) y socio-cultural que favorece la atenuacin de prejuicios y aspectos morales que puedan desviar una mirada analtica y se alejen de una valoracin imparcial. Dipoli, enmarcada en dicho periodo, mantiene la capacidad crtica para ser analizada. ABSTRACT The dissertation defends Dipoli ( 1961-1966 ) as one of the most significant examples of the Reima ( 1923-1993 ) Raili Pietil (1926 -), who joined both personally and professionally the same year of the projects competition (1961). Due to the difficulty of the commission by the size and flexibility of the required areas, there was not first prize awarded because none of the submitted proposals met all the requirements. The jury awarded Dipoli with second prize together with a competing scheme by Osmo Lappo. The board subsequently asked for a further development of both proposals and finally selected the one by Pietil. The completed project allows a wide range of social activities such as meetings, night entertainment, performances, film screenings, dinners and dance to take place while the facility can also serve as a dining hall during winter months and conference center in the summer when necessary. In addition, the building was intended to house the Helsinki University of Technology (now Aalto University) Student Union. The University, at the time being designed by Alvar Aalto following his successful entry to the master plan competition in 1949, was located a few kilometers from the capital on the new campus in Otaniemi. The most characteristic element of the project is its roof which can be described as a continuous form achieved an in-situ concrete cavity structure that can modulate two different geometric languages and generate a singular space under it. The building is, in general terms, an unique shell space with many functional possibilities. Its geometry allows the program to split its functions into smaller sizes without losing the identity or formal unity of the general object. The way in which the spaces are illuminated is solved in two different ways. First, while the Cartesian-line volume presents a series of longitudinal openings into which natural light penetrates, the free-form volume shows a set of skylights in apparently random positions that vary in size and that introduce natural light through the roof in a more controlled manner. In addition the perimeter openings are present that relate directly to the nature that surrounds the building. The adaptable thickness of the roof provides a set of solutions that resolve the three main issues of the project: the adequacy of the functions in the interior areas, the complex capability for user flows and circulation and the manner in which the building is inserted in its context. The perception of the roof horizontal plane offers multiple interpretations, from its primary use as a primitive cover whose distance from the ground compresses the void and creates a light tension, to the new relationships with the landscape where by the roof becomes a faade cladding and rests directly on the ground to create a physical boundary between interior and exterior. The main scope of this research is to better understand the particular trace of Dipoli from a rigorous architectural view to deep into the knowledge of the building and, at the same time, to explain the space through a series of project design tools that have been used. For this reason, an accurate documentation has arisen from collecting, selecting and redrawing the existing information from the sketching stage to the built object. A through reanalysis of the Otaniemi Student Center therefore provides not only a more complete understanding of the work of the architects, but also leads to a better comprehension of the history of Finnish architecture, which is related to other cultural relationships and which shares certain architectural values which a more comprehensive understanding of general architectural history. This research starts from the working hypothesis that the final shape of the building and its relationship to its place created a type of architecture that relies on a sensitive observation of the program, the use of varying scales of space, the movement and flow of people and finally the coexistence with the natural context. In this sense, the work is developed based on those aspects that are also reflected in the influence of others architects by understanding both their own and other architects work. In order to obtain a personal reading of the project facts that allowed the architects construct Dipoli (understanding the facts as a set of tools and project mechanisms that are able to generate a particular volumetric composition and dynamic spaces that at the same time provide an expressive exterior), the research hinges on two main sections, "Contexts" and "Design and Construction", that study the project from all perspectives. This two parts address the description of temporal , physical , cultural , personal and professional framework, analysis and synthesis of the proposal and finally, the national and international influences on the project. Contexts seek to place the work and to facilitate the understanding of all aspects and conditions that led to the creation of Dipoli. This chapter is subdivided into five sections: Historical Context, Cultural and Physical, Personal, Professional and Dipoli Influences. Historical Context focuses on a detailed description of a set of precedents that influenced the architect when making decisions during design process. The objective is to define the conditions that could directly or indirectly shape the work. This chapter begins by highlighting issues of common interest to the rest its Finnish counterparts. The text is mainly focused on the 1950s as a prelude to Dipolis conception. It will also address the process of Finnish architecture from the late nineteenth century as linked to the national identity crisis that the great master Alvar Aalto overcame with both his works and personality, being a great drain on the rest of his colleagues. This aspect caused a reaction against Aalto and his projects. For this reason, at the time that Dipoli came into being a number of professionals who strongly defended the traces of Cartesian Rationalism, including Juhani Pallasmaa and Aulis Blomstedt emerged and brought a new intellectual perspective to the Finnish architecture scene. It is thus inevitable that the presence of Alvar Aalto will be apparent throughout the dissertation to allow a better understanding of the organizational and human character of their work from the Pietils perspective. Later, this chapter identifies those interests that dominated the international architectural framework that could have influenced Dipoli. The project will be placed in relation to various contemporary architectural works that were created using a different approach to that outlined by the Modern Movement. This is present in the case of Team 10 group and with specific examples of German architects including Hans Scharoun and Hugo Hring, as well as some commonalities with Soviet Constructivism. These relationships with other architecture qualify its singular character and even extend how this proposal amplifies those shared aspects. Physical and Cultural Context involves the unique site where the building is located which includes different features from the location of other buildings on the campus. IT then progresses into the origin of the new campus from the urban planning of Alvar Aalto and reveals both the setting and proposed constructions that Aalto had developed. This section also highlights the aspects that led to the choice of the site. I go deep into the program proposed by the jury (of whom Aalto was a member) and the analysis of the alternative proposals that received a special commendation. Finally, I study and define the most relevant works located near Dipoli, emphasizing primarily the work of the Sirens (Heikki and Kaija) and Alvar Aalto for the reasons developed in the previous section. I then proceed with the Personal Context, where a series of biographical data are selected to begin to explain the personal circumstances that outlined the Pietilas architectural understanding and consequently could have influenced their intellectual approach to design Dipoli. Then the text explores their professional and personal relationship to establish what extent they participated in the proposal. This section concludes with the study of the Reima Pietils teaching period at Oulu that explores the issues he presented to his students there. In the process of understanding the Pietils theoretical and design evolution, it must be considered essential to study other buildings that are part of their professional context. These projects belong to the most active stage of their office and include the Finnish Pavilion for the Worlds Fair in Brussels (1956-1958), Kaleva Church in Tampere (1959-1966) and the Nordic Pavilion at the 1960 Venice Biennale. We will complete the view of Dipoli from previous theoretical investigations performed in parallel that were spread through several exhibitions. We will focus on the three that were most relevant to the evolution of the architect (Morphology and Urbanism, the Zone, and Stick Studies) to establish a series of useful relationships. This section is not intended to be an in-depth analysis nor to collect most of the work of the Pietils; but rather to reveal the most significant features that facilitate an understanding of the above values. Finally, Dipolis Impact refers to the influence of the building from many points of view during its construction and after its completion. It collects the reviews published in the world's most relevant magazines which had decided to show the alternate proposals, generally conceived of by internationally-renowned architects. I analyze the content of the articles in order to establish a series of parallels with the chapter Contexts and own writings Pietil to clarify if main design directions were clear at that time. The views of relevant critics, including Kenneth Frampton, Bruno Zevi and Christian Norberg -Schulz, are also collected here. This episode also collects and assesses the views of these critics Finnish counterparts that generally stood at the opposite side of the international debate. It delves into the complex situation that led to the rejection of the building by the rationalists that dominated the Finnish critical thinking while searching for new alternatives to distance themselves from the Alvar Aaltos success. It aims to clarify both the justification for these negative comments and the reasons why Reima and Raili not obtain a single commission for nearly ten years after the completion of Dipoli. From the critics we will approach the opinion of Reima Pietil himself. To do this, in the Literal Morphology section we will see how the architect tried to defend his position. Those design tool that directly affected the perception of the proposal are provided through the figures of Roger Connah and Malcolm Quantrill. Finally, a critical personal and professional- review of these two very close figures will take place. Despite knowing that both delved into the work of architects with greater depth and provided a complete view of the Finnish architectural context in 20th century, they have focused mainly morphological knowledge which has led to the observation of natural phenomena. It also notes the lack of objectivity in their views caused in part by, in the case of Connah, collaborating professionally and in that of Quantrill being a close friend of the Pietil family. The value of the documentation provided by both resides mainly in the faithful transmission of the Pietils own explanations. The final chapter covers both Design and Construction and provides a comprehensive project description in order tofaithfully analyse the work. As the proposal is being explained, relationships of its built form are continuously linked to other architectural projects to gain a better understanding of Dipoli itself. To do this we have set three basic sections: "The Place", "Geometries & Function" and "Presence and Materiality. Construction process" that intended to identify those project tools for the realization of the work while deepens the proposals evolution. The Place describes how to approach and reach the building in detail and how the view out towards the surrounding natural setting is continuously shown in the proposals drawings. We will study both the multiplicity of entrances as well as the corridor downstairs as part of the public space that diagonally goes through the building. Then, the existing voids in the concrete cave for public activities will be evaluated. Lastly, the study will focus on the openings as a significant element in the transition from interior and exterior areas to describe the importance of the circulation on the second floor and how function is able to accommodate through the areas of void. Geometries & Function explains the final solution and the development of the proposal through the floor plan. Simultaneously it detects those aspects that appear in other projects and that may have influenced the development of the work. Once we have analyzed both levels ground and second floor- section drawings come into the topic to study the connections between the two levels and highlighting the types of hierarchy for the multiple paths to organize the flows of people inside the building. In the last section the structural geometry is identified through the description of the form and how it responds to the final volumetrical settings. The character of the building through the use of materials and construction techniques inquires from Presence and Materiality. This point of view clarifies multisensory project issues as Dipoli relationship to the dynamic or static character or different spaces inside the building. Once the analysis has been made we will step back to a final return to the buildings exterior to analyze the presence of the building through its scale, colour and textures. This section emphasizes the projects scale and orientation to find the proper insertion of the building in place. In short, this dissertation has been done by the idea that Pietilsspecial abilities were allowed from a sensitive observation of the program, the creation of a variety of special scales, dynamic circulation and the relating relationship with the projects location as fundamental design tools. From this aspect, Dipoli could be more usefully framed in the historical context of Nordic and international architecture. The dissertation allows us to better understand the cultural context of the 1960s, in which Dipoli was established since it continues our recent architectural history. The final built form is conceived as an extension of our contemporary world. Therefore the project is assessed through the comparison of the architects intentions and the final completed project.
Resumo:
In this paper I revisit the age-old question of the relationship between philosophy and theology by rejecting the claim that throughout the history of the Christian Church, whenever Christian thinkers have baptized philosophy, they have done so to the detriment of theology. Church history reveals just the opposite, i. e., that sometimes theologians have creatively and fruitfully used philosophical language, concepts, methods, and conclusions to understand and express the faith. In addition, church history records numerous attempts to limit philosophical enquiry for theological reasons that proved unsuccessful and counter-productive. Both types of interaction between philosophy and theology occurred at the University of Paris during the thirteenth century. Despite repeated efforts of some officials to place philosophy under interdict, that is, to ban the reading of particular philosophical works or the teaching of philosophical propositions from the university faculties, a series of university theologians applied Aristotelian tools of enquiry to questions about the Christian faith with positive and constructive results. If academic theology at Paris during the thirteenth century has anything to teach us, it is that interdict cuts both ways. It might protect some theological claims from philosophical contamination or compromise, but it can also insulate theological claims from much needed critical analysis. The thinkers and developments surveyed in this paper suggest that perhaps instead of placing deconstruction under interdict, todays Christian thinkers should use some of the language, concepts, methods and conclusions of Derrida to further theological understanding.
Resumo:
This paper deals with pattern recognition of the shape of the boundary of closed figures on the basis of a circular sequence of measurements taken on the boundary at equal intervals of a suitably chosen argument with an arbitrary starting point. A distance measure between two boundaries is defined in such a way that it has zero value when the associated sequences of measurements coincide by shifting the starting point of one of the sequences. Such a distance measure, which is invariant to the starting point of the sequence of measurements, is used in identification or discrimination by the shape of the boundary of a closed figure. The mean shape of a given set of closed figures is defined, and tests of significance of differences in mean shape between populations are proposed.
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This folder contains a single document describing the "rules and orders" of the Hollis Professor of Mathematics and Natural Philosophy. The document begins by defining the subjects to be taught by the Hollis Professor including natural and experimental philosophy, elements of geometry, and the principles of astronomy and geography. It then outlines the number of public and private lectures to be given to students, how much extra time the professor should spend with students reviewing any difficulties they may encounter understanding class subject matter discussed, and stipulates that the professor's duties shall be restricted solely to his teaching activities and not involve him in any religious activities at the College or oblige him to teach any additional studies other than those specified for the Hollis Professor of Mathematics and Natural Philosophy. Furthermore, the rules establish the professor's salary at 80 per year and allow the professor to receive from students, except those students studying theology under the Hollis Professor of Divinity, an additional fee as determined by the Corporation and Board of Overseers, to supplement his income. Moreover, the rules assert that all professorship candidates selected by the Harvard Corporation must be approved by Thomas Hollis during his lifetime or by his executor after his death. Finally, the rules state that the Hollis professor take an oath to the civil government and declare himself a member of the Protestant reformed religion. This document is signed by Thomas Hollis and four witnesses, John Hollis, Joshua Hollis, Richard Solly, and John Williams.
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Mode of access: Internet.
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Contains reference lists and notes.
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The translator's preface is followed by his Dissertation on the Platonic doctrine of ideas; Demonstrative syllogism; Nature of the soul; Dissertation on the true end of geometry; Life and commentaries of Proclus, including the life of Proclus by Marinus.
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Vols. 17-20 were issued each in 2 pts., which in v. 18-20 have separate t.p.; in v. 18 the parts are separately paged, and the t.p. for pt. 2 reads "Asiatic researches. Transactions of the Physical class of the Asiatic Society of Bengal."
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One of the curious things about this challenging book is that its ostensible subject the Saxon medical and political scientist Hermann Conring (16061681) is not mentioned in the title. Constantin Fasolt argues that we cannot know what Conring really thought or meant in his writings, which means that his topic cannot be Conring as such and must instead be that which occludes our knowledge of him, the titular limits of history. Given that we do in fact learn a good deal about Conring from Fasolts book, we can only hope that the decapitation of its subject will be rectified in a subsequent edition, or perhaps by the restorative work of librarians putting together subject headings. And yet Fasolts decision is understandable, for Conring is indeed a stalking-horse for a much bigger quarry: historiography and the historical consciousness. By history Fasolt understands a way of imposing intelligibility on the world, which is founded on the twin assumptions that the past is gone and unchangeable, and that the meaning of texts can be determined by placing them in their historical contexts (ix). In challenging this mode of intelligibility, Fasolt is not attempting to improve professiona historyits already as good as it can bebut to displace it. He regards his work as a declaration of independence from historical consciousness (32). At the same time, Fasolt insists that he is not simply jumping from historiography to philosophy, or attempting to preempt history with ontology (37-39). That has been tried by Nietzsche and Heidegger, who have been tainted by Nazism (Fasolt thinks unfairly). It has also been attempted by modern philosophers from Gadamer to Foucault and Charles Taylor who, in failing to address the violence that its mode of intelligibility does to the world, have not succeeded in outflanking history. Perhaps, Fasolt wonders, it is only the personal experience of those who have been subject to this violencethe experience of those who have been subject to historical examinationthat can break the spell of history. Fasolts disclaimer notwithstanding, in the course of these remarks I shall argue that he is indeed jumping from history to philosophy, or attempting to outflank history by subjecting it to a particular metaphysical understanding. I shall do so in part by sketching the recent intellectual history of this movea historical examination that I hope inflicts as little violence as possible on Fasolts argument.
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The naming of styles or movements is a basic mechanism of the architectural journals. The announcement of new tendencies, groups or philosophies, gives a journal its character as news, and if such terms are taken up in general discourse this demonstrates the prescience of the editor and enhances the repute of the journal. The announcement of phenomenon such as critical regionalism or deconstructivism referred architectural developments to a context in socio-politics or philosophy, and thus aimed to provide at least an initial resistance to their understanding as the formal styles which they quickly became. A different strategy, or occasion, which this paper will discuss, is where the name of an architectural moment is given in the traditional form of an art historical style. Here the nomenclature of style and a certain attitude to form is introduced as the starting point for a more open ended critical inquiry. Two examples of this strategy will be given. The first is Peter Reyner Banham and the Architecture Reviews promotion of Brutalism as an anti-aesthetic which took its conceptual form from early twentieth century art movements, particularly Futurism. The second, identified with Architectural Design in the 1990s is Minimalism, a term describing a strand of the visual arts of the 1960s which can be understood as an attempt to nuance and add seriousness to the present rampant nostalgia for the style of the architecture of the 1960s.
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This review will critically evaluate two recent texts by white academics working across disciplines of cultural studies, history and anthropology and published by UNSW Press, which share a focus on the relationship between Aboriginality, Philosophy, Place and Time in Australia. I write from the position of a queer white academic committed to engaging politically and intellectually with the challenge of Indigenous sovereignties in this place while also aware that my position as a middle class white woman and intellectual imposes limits on what it is possible for me to know about Indigenous epistemologies (see Moreton-Robinson, 2000). In the course of this review I will demonstrate how anthropology's tendency to fix its objects of study within a circumscribed space of 'difference' limits the capacity of texts produced within this discipline to account for racialized struggles over sovereignty. While these struggles are equally embedded in the ethnographic context and the nation's constitution and political institutions, we will see that Muecke and Bird Rose confront problems in analysing the relationship between the intimate space of the 'field', in which one's research subjects quickly become one's 'friends' and/or 'classificatory kin'on one handand the public space of the nation within which statements about Aboriginality by white academics circulate and are vested with an authority that escapes individual intentions and controlon the other.
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This study inquires into the institutional identity of the Church of Jesus Christ of Latter-day Saints since its founding in 1830. The study takes a historical stance in discussing the relationship between American public perceptions and the Church's developing internal identity, tracing these changes through three distinct historical stages. Building on the works of historians and sociologists such as Jan Shipps, Armand Mauss, and Terryl Givens, this study hopes to contribute to the understanding of new religious movements and the progression from sect to church. The study finds that Mormon identity and American perceptions of Mormons have had an inter-influential relationship, each responding and re-forming in turn. The LDS Church has progressed from sect to church as tensions with the host society have lessened. Currently, the Church is at an optimum level of tension with the host society, maintaining a distinct identity while enjoying conventional acceptance.
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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 representationpanoramic 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.
