98 resultados para |Functionalism
Resumo:
En Women in Western Political Thought, Susan Moller Okin busca mostrar, mediante el anlisis de una serie de autores paradigmticos del pensamiento poltico occidental, que la causa de que las mujeres continuemos siendo ciudadanas de segunda radica en que la mujer ha sido pensada casi siempre desde una perspectiva funcionalista: ninguno de los autores puede pensar a la mujer fuera del mbito privado y como madres-esposas. Partiendo de esta hiptesis, este trabajo pretende reconstruir la lectura que la autora realiza de Platn y Aristteles
Resumo:
En Women in Western Political Thought, Susan Moller Okin busca mostrar, mediante el anlisis de una serie de autores paradigmticos del pensamiento poltico occidental, que la causa de que las mujeres continuemos siendo ciudadanas de segunda radica en que la mujer ha sido pensada casi siempre desde una perspectiva funcionalista: ninguno de los autores puede pensar a la mujer fuera del mbito privado y como madres-esposas. Partiendo de esta hiptesis, este trabajo pretende reconstruir la lectura que la autora realiza de Platn y Aristteles
Resumo:
La energa es ya un tema arquitectnico, pero su incorporacin al proyecto ha sido hasta ahora fundamentalmente tcnica, dando pie a una especie de funcionalismo ecolgico cuyo destino es acaso repetir los errores de los viejos funcionalismos en su confianza de encontrar modos objetivos de transmutar la energa en forma construida, pero sin que en tal proceso parezca haber hueco para mediaciones de tipo esttico. Sin embargo, son precisamente tales mediaciones las que necesitan analizarse para que la adopcin de los temas energticos resulte fructfera en la arquitectura, y asimismo para dar cuenta de otras perspectivas complementarias filosficas, cientficas, artsticas que hoy forman el complejo campo semntico de la energa. Partiendo de la fecha de 1750 que da comienzo simblicamente al proceso de contaminaciones modernas entre la arquitectura y otras disciplinas, esta tesis analiza los diferentes modos con los que proyectos y edificios han expresado literal y analgicamente ciertos temas o ideales energticos, demostrando la existencia de una esttica de la energa en la arquitectura y tambin de una tradicin proyectual e intelectual sostenida en ella. Con este fin, se han seleccionados siete metforas que vinculan tanto tcnica como ideolgicamente a la arquitectura con la energa: la metfora de la mquina, asociada al ideal de movimiento y la autorregulacin; las metforas del arabesco, del cristal y del organismo, afines entre s en su modo de dar cuenta del principio de la morfognesis o energa creadora de la naturaleza; la metfora de la actividad interna de los materiales; la metfora del gradiente, que expresa la condicin trmica y climtica de la arquitectura, y, finalmente, la de la atmsfera que, recogiendo los sentidos anteriores, los actualiza en el contexto de la esttica contempornea. La seleccin de estas siete metforas se ha llevado a cabo despus de un barrido exhaustivo de la bibliografa precedente, y ha estructurado un relato cuyo mtodo combina la perspectiva general que permite cartografiar las continuidades histricas con la cercana que atiende a las problemas especficos de cada tema o metfora, complementndolas con una aproximacin de sesgo iconogrfico cuyo propsito es incidir en los vnculos que se dan entre lo ideolgico y lo morfolgico. El anlisis ha puesto de manifiesto cmo detrs de cada una de estas metforas se oculta un principio ideolgico comn la justificacin de la arquitectura desde planteamientos externos procedentes de la ciencia, la filosofa y el arte, y cmo en cada uno de los casos estudiados las asimilaciones ms fructferas de la energa se han producido segn mecanismos de mmesis analgica que inciden ms en los procesos que en las formas que estos generan, y que en ltimo trmino son de ndole esttica, lo cual constituye un indicio de los mtodos de la arquitectura por venir. ABSTRACT Although it is already an architectural theme, the matter of incorporating energy into projects has up to now been mainly technical, giving rise to a kind of ecological functionalism which may be bound to old funcionalist mistakes in hopes of finding objective ways of transmuting energy into built forms without aesthetic considerations. However, it is precisely such considerations that need to be analyzed if the adoption of energy issues in architecture is to bear fruit and also to account for other complementary perspectives philosophical, scientific, artistic which today form the complex fabric of the energy semantic field. Beginning in 1750 symbolic start of modern contaminations between architecture and other disciplines , this thesis analyzes the different ways in which projects and buildings have literally and analogically expressed certain subjects or ideals on energy, and demonstrates the existence of an aesthetics of energy in architecture, as well as of an intellectual and design tradition based on such aesthetics. For this purpose, seven metaphors are selected to link energy to architecture both technically and ideologically: the machines metaphor, associated with the ideal of mouvement and self-regulation; the arabesque, glass and the organisms metaphors, which account for the morphogenesis principle, i.e. creative energy of nature; the metaphor linked to matter and the ideal of internal activity; the gradients metaphor, which expressed the thermal and climatic condition of architecture, and, finally, that of the atmosphere which, collecting the above meanings, updates them in the context of contemporary aesthetics. The selection of these seven metaphors was carried out after a thorough scan of the preceding literature, and has structured a reasoning that combines the overview method which accounts for historical continuities with the nearby one which meets the specifics problems of each theme or metaphor , both supplemented with an iconographic bias, the purpose of which is to visually express the links existing between the ideological and the morphological. So presented, the analysis shows how, behind each of these metaphors, lies a common ideological principle the justification of architecture from scientific, philosophical and artistic external angles , and how in each of the studied cases the most successful assimilation of energy were those produced by aesthetic mechanisms of analogical mimesis not focused in forms but in processes that generate them: an indication of the methods of architecture to come.
Resumo:
La tesis 1950 En torno al Museo Louisiana 1970 analiza varias obras relacionadas con el espacio domstico, que se realizaron entre 1950 y 1970 en Dinamarca, un periodo de esplendor de la Arquitectura Moderna. Tras el aislamiento y restricciones del conflicto blico que asol Europa, los jvenes arquitectos daneses, estaban deseosos por experimentar nuevas ideas de procedencia internacional, favorecidos por diferentes circunstancias, encuentran el mejor campo de ensayo en el espacio domstico. La mejor arquitectura domstica en Dinamarca, de aquel periodo, debe entenderse como un sistema compuesto por diferentes autores, que tienen en comn muchas ms similitudes que diferencias, se complementan unos a otros. Para la comprensin y el entendimiento de ello se hace necesario el estudio de varias figuras y edificios, que completen este sistema cuya investigacin est escasamente desarrollada. La tesis propone un viaje para conocer los nombres de algunos de sus protagonistas, que mostraron con su trabajo, que tradicin y vanguardia no estarn reidas. El objetivo es desvelar las claves de la Modernidad Danesa, reconocer, descubrir y recuperar el legado de algunos de sus protagonistas en el mbito domstico, cuya leccin se considera de total actualidad. Una arquitectura que asume las aportaciones extranjeras con moderacin y crtica, cuya ntima relacin con la tradicin arquitectnica y la artesana propias, ser una de sus notas especiales. Del estudio contrastado de varios proyectos y versiones, se obtienen valores comunes entre sus autores, al igual que se descubren sus afinidades o diferencias respecto a los mismos asuntos; que permitirn comprender sus actuaciones segn las referencias e influencias, y definir las variables que configuran sus espacios arquitectnicos. La lnea de conexin entre los edificios elegidos ser su particular relacin con la naturaleza y el lugar en que se integran. La fachada, lugar donde se negociar la relacin entre el interior y el paisaje, ser un elemento entendido de un modo diferente en cada uno de ellos, una relacin que se extender en todas ellas, ms all de su permetro. La investigacin se ha estructurado en seis captulos, que van precedidos de una Introduccin. En el captulo primero, se estudian y se sealan los antecedentes, las figuras y edificios ms relevantes de la Tradicin Danesa, para la comprensin y el esclarecimiento de algunas de las claves de su Modernidad en el campo de la Arquitectura, que se produce con una clara intencin de encontrar su propia identidad y expresin. Esta Modernidad floreciente se caracteriza por la asimilacin de otras culturas extranjeras desde la moderacin, con un punto de vista crtico, y encuentra sus races ancladas a la tradicin arquitectnica y la artesana propia, que fragua en la aparicin de un ideal comn con enorme personalidad y que hoy se valora como una autntica aportacin de una cultura considerada entonces perifrica. Se mostrar el debate y el camino seguido por las generaciones anteriores, a las obras anlizadas. Las sensibilidades por lo vernculo y lo clsico, que aparentemente son contradictorias, dominaran el debate con la misma veracidad y respetabilidad. La llamada tercera generacin por Sigfried Giedion reanudar la prctica entre lo clsico y lo vernculo, apoyados en el espritu del trabajo artesanal y de la tradicin, con el objetivo de conocer del acto arquitectnico su la verdad y la esencia original. El captulo segundo, analiza la casa Varming, de 1953, situada en un rea residencial de Gentofte, por Eva y Nils Koppel, que reinterpreta la visin de Asplund de un paisaje interior continuacin del exterior, donde rompen la caja de ladrillo macizo convencional propia de los aos 30. Es el ejemplo ms poderoso de la unin de tradicin e innovacin en su obra residencial. Sus formas sobrias entre el Funcionalismo Dans y la Modernidad se singularizarn por su abstraccin y volmenes limpios que acentan el efecto de su geometra, prismtica y brutalista. El desplazamiento de los cuerpos que lo componen, unos sobre otros, generan un ritmo, que se producir a otras escalas, ello unido a las variaciones de sus formas y a la eleccin de sus materiales, ladrillo y madera, le confieren a la casa un carcter orgnico. El edificio se ancla a la tierra resolvindose en diferentes niveles tras el estudio del lugar y su topografa. El resultado es una versin construida del paisaje, en la cual el edificio da forma al lugar y ensalza la experiencia del escenario natural. La unidad de las estructuras primitivas, parece estar presente. Constituye un ejemplo de la La idea de Promenade de Asplund, el proyecto ofrece diferentes recorridos, permitiendo su propia vivencia de la casa, que ofrece la posibilidad vital de decidir. El captulo tercero trata sobre el pabelln de invitados de Niels Bohr de 1957, situado un rea boscosa, en Tisvilde Hegn, fue el primer edificio del arquitecto dans Vilhelm Wohlert. Arraigado a la Tradicin Danesa, representa una renovacin basada en la absorcin de influencias extranjeras: la Arquitectura Americana y la Tradicin Japonesa. La caja de madera, posada sobre un terreno horizontal, tiene el carcter sensible de un organismo vivo, siempre cambiante segn las variaciones de luz del da o temperatura. Cuando se abre, crea una prolongacin del espacio interior, que se extiende a la naturaleza circundante, y se expande hacia el espacio exterior, permitiendo su movilizacin. Se establece una arquitectura de flujos. Hay un inters por la materia, su textura y el efecto emocional que emana. Las proporciones y dimensiones del edificio estn reguladas por un mdulo, que se ajusta a la medida del hombre, destacando la gran unidad del edificio. La llave se su efecto esttico est en su armona y equilibrio, que transmiten serenidad y belleza. El encuentro con la naturaleza es la leccin ms bsica del proyecto, donde un mundo de relaciones es amable al ser humano. El captulo cuarto, analiza el proyecto del Museo Louisiana de 1958, en Humlebk, primer proyecto de la pareja de arquitectos daneses Jrgen Bo y Vilhelm Wohlert. La experiencia en California de Wohlert donde ser visitado por Bo, ser trascendental para el desarrollo de Louisiana, donde la identidad Danesa se fusiona con la asimilacin de otras culturas, la arquitectura de Frank Lloyd Wright, la del rea de la Baha y la Tradicin Japonesa principalmente. La idea del proyecto es la de una obra de arte integral: arquitectura, arte y paisaje, coexistiran en un mismo lugar. Diferentes recursos realzarn su carcter residencial, como el uso de los materiales propios de un entorno domstico, la realizacin a la escala del hombre, el modo de usar la iluminacin. Cubiertas planas que muestran su artificialidad, parecen flotar sobre galeras acristaladas, acentuarn la fuerza del plano horizontal y establecern un recorrido en zig-zag de marcado ritmo acompasado. Ritmo que tiene que ver con la encarnacin del pulso de la naturaleza, que se acompaa de juegos de luz, y de otras vibraciones materiales a diferentes escalas, imagen, que encuentra una analoga semejante en la cultura japonesa. Todo se coordina con la trama estructural, que conlleva a una construccin y proporcin disciplinada. Louisiana atiende al principio de crecimiento de la naturaleza, con la que su conexin es profunda. Hay un dinamismo expresado por el despliegue del edificio, que evoca a algunos proyectos de la Tradicin Japonesa. Los blancos muros tienen su propia identidad como formas en s mismas, avanzan prolongndose fuera de la lnea del vidrio, se mueven libremente siguiendo el orden estructural, acompaando al espacio que fluye, en contacto directo con la naturaleza que est en un continuo estado de flujos. Se da todo un mundo de relaciones, donde existe un dialogo entre el paisaje, arte y arquitectura. El captulo quinto, se dedica a analizar la segunda casa del arquitecto dans Halldor Gunnlgsson, de 1959. Evoca a la Arquitectura Japonesa y Americana, pero es principalmente resultado de una fuerte voluntad y disciplina artstica personal. La cubierta, plana, suspendida sobre una gran plataforma pavimentada, que contina la seccin del terreno construyendo de lugar, tiene una gran presencia y arroja una profunda sombra bajo ella. En el interior un espacio nico, que se puede dividir eventualmente, discurre en torno a un cuerpo central. El espacio libre fluye, extendindose a travs de la transparencia de sus ventanales a dos espacios contrapuestos: un patio ajardinado ntimo, que inspira calma y sosiego; y la naturaleza salvaje del mar que proyecta el color del cielo, ambos en constante estado de cambio. El proyecto se elabora de un modo rigurosamente formal, existiendo al mismo tiempo un perfecto equilibrio entre la abstraccin de su estructura y su programa. La estructura de madera cuyo orden se extiende ms all de los lmites de su permetro, est formada por prticos completos como elementos libres, queda expuesta, guardando una estrecha relacin con el concepto de modernidad de Mies, equivalente a la arquitectura clsica. La preocupacin por el efecto esttico es mxima, nada es improvisado. Pero adems la combinacin de materiales y el juego de las texturas hay una cualidad tctil, cierto erotismo, que flota alrededor de ella. La precisin constructiva y su refinamiento se acercan a Mies. La experiencia del espacio arquitectnico es una vivencia global. La influencia de la arquitectura japonesa, es ms conceptual que formal, revelada en un respeto por la naturaleza, la bsqueda del refinamiento a travs de la moderacin, la eliminacin de los objetos innecesarios que distraen de la experiencia del lugar y la preocupacin por la luz y la sombra, donde se establece cierto paralelismo con el oscuro mundo del invierno nrdico. Hay un entendimiento de que el espacio, en lugar de ser un objeto inmaterial definido por superficies materiales se entiende como interacciones dinmicas. El captulo sexto. Propone un viaje para conocer algunas de las viviendas unifamiliares ms interesantes que se construyeron en el periodo, que forman parte del sistema investigado. Del estudio comparado y orientado en varios temas, se obtienen diversa conclusiones propias del sistema estudiado. La maestra de la sustancia y la forma ser una caracterstica distintiva en Dinamarca, se demuestra que hay un acercamiento a la cultura de Oriente, conceptual y formal, y unos intereses comunes con cierta arquitectura Americana. Su leccin nos sensibiliza hacia un sentido fortalecido de proporcin, escala, materialidad, textura y peso, densidad del espacio, se valora lo tctil y lo visual, hay una sensibilidad hacia la naturaleza, hacia lo humano, hacia el paisaje, la integridad de la obra. ABSTRACT The thesis 1950 around the Louisiana Museum 1970 analyses several works related to domestic space, which were carried out between 1950 and 1970 in Denmark, a golden age of modern architecture. After the isolation and limitations brought about by the war that blighted Europe, young Danish architects were keen to experiment with ideas of an international origin, encouraged by different circumstances. They find the best field of rehearsal to be the domestic space. The best architecture of that period in Denmark should be understood as a system composed of different authors, who have in common with each other many more similarities than differences, thus complimenting each other. In the interests of understanding, the study of a range of figures and buildings is necessary so that this system, the research of which is still in its infancy, can be completed. The thesis proposes a journey of discovery through the names of some of those protagonists who were showcased through their work so that tradition and avant- garde could go hand in hand. The objective is to unveil the keys to Danish Modernity; to recognise, discover and revive the legacy of some of its protagonists in the domestic field whose lessons are seen as entirely of the present. For an architect, the taking on of modern contributions with both moderation and caution, with its intimate relationship with architectural tradition and its own craft, will be one of his hallmarks. With the study set against several projects and versions, one can derive common values among their authors. In the same way their affinities and differences in respect of the same issue emerge. This will allow an understanding of their measures in line with references and influences and enable the defining of the variables of their architectural spaces. The common line between the buildings selected will be their particular relationship with nature and the space with which they integrate. The faade, the place where the relationship between the interior and the landscape would be negotiated, wouldl be the discriminating element in a distinct way for each one of them. It is through each of these facades that this relationship would extend, and far beyond their physical perimeter. The investigation has been structured into six chapters, preceded by an introduction. The first chapter outlines and analyses the backgrounds, figures and buildings most relevant to the Danish Tradition. This is to facilitate the understanding and elucidation of some of the keys to its modernity in the field of architecture, which came about with the clear intention to discover its own identity and expression. This thriving modernity is characterized by its moderate assimilation with foreign cultures with a critical eye, and finds its roots anchored in architectural tradition and its own handcraft. It is forged in the emergence of a common ideal of enormous personality which today has come to be valued as an authentic contribution to the sphere from a culture that was formerly seen as on the peripheries. What will be demonstrated is the path taken by previous generations to these works and the debate that surrounds them. The sensibilities for both the vernacular and the classic, which at first glance may seem contradictory, will dominate the debate with the same veracity and respectability. The so-called third generation of Sigfried Giedion will revive the process between the classic and the vernacular, supported in spirit by the handcraft work and by tradition, with the objective of discovering the truth and the original essence of the architectural act. The second chapter analyzes the Varming house, built by Eva and Nils Koppel 1953, which is situated in a residential area of Gentofte. This reinterprets Asplunds vision of an interior landscape extending to the exterior, where we see a break with the conventional sturdy brick shell of the 1930s. It is the most powerful example of the union of tradition and innovation in his their residential work. Their sober forms caught between Danish Functionalism and modernity are characterized by their abstraction and clean shapes which accentuate their prismatic and brutal geometry, The displacement of the parts of which they are composed, one over the other, generate a rhythm. This is produced to varying scales and is closely linked to its forms and the selection of materials brick and wood that confer an organic character to the house. The building is anchored to the earth, finding solution at different levels through the study of place and topography. The result is an adaption constructed out of the landscape, in which the building gives form to the place and celebrates the experience of the natural setting. The unity of primitive structures appears to be present. It constitutes an example of Asplunds Promenade Idea. Different routes of exploration within are available to the visitor, allowing for ones own personal experience of the house, allowing in turn for the vital chance to decide. The third chapter deals with Niels Bohrs guest pavilion. Built in 1957, it is situated in a wooded area of Tisvilde Hegn and was the architect Vilhelm Wohlerts first building. Rooted in the Danish Tradition, it represents a renewal based on the absorption of foreign influences: American architecture and the Japanese tradition. The wooden box, perched atop a horizontal terrain, possesses the sensitive character of the living organism, ever-changing in accordance with the variations in daylight and temperature. When opened up, it creates an elongation of the interior space which extends into the surrounding nature and it expands towards the exterior space, allowing for its mobilisation. It establishes an architecture of flux. There is interest in the material, its texture and the emotional effect it inspires. The buildings proportions and dimensions are regulated by a module, which is adjusted by hand, bringing out the great unity of the building. The key to its aesthetic effect is its harmony and equilibrium, which convey serenity and beauty. The meeting with nature is the most fundamental lesson of the project, where a world of relationships softens the personality of the human being. The fourth chapter analyzes the Louisiana Museum project of 1958 in 1958. It was the first project of the Danish architects Jrgen Bo and Vilhelm Wohlert. Wohlerts experience in California where he was visited by Bo would be essential to the development of Louisiana, where the Danish identity is fused in assimilation with other cultures, the architecture of Frank Lloyd Wright, that of the Baha area and principally the Japanese tradition. The idea of the project was for an integrated work of art: architecture, art and landscape, which would coexist in the same space. A range of different resources would realize the residential character, such as the use of materials taken from a domestic environment, the attainment of human scale and the manner in which light was used. Flat roof plans that show their artificiality and appear to float over glassed galleries. They accentuate the strength of the horizontal plan and establish a zigzag route of marked and measured rhythm. It is a rhythm that has to do with the incarnation of natures pulse, which is accompanied with plays of light, as well as material vibrations of different scales, imagery which uncovers a parallel analogy with Japanese culture. Everything is coordinated along a structural frame, which involves a disciplined construction and proportion. Louisiana cherishes natures principle of growth, to which its connection is profound. Here is a dynamism expressed through the disposition of the building, which evokes in some projects the Japanese tradition. The white walls possess their own identity as forms in their own right. They advance, extending beyond the line of glass, moving freely along the structural line, accompanying a space that flows and in direct contact with nature that is itself in a constant state of flux. It creates a world of relationships, where dialogue exists between the landscape, art and architecture. The fifth chapter is dedicated to analyzing the Danish architect Halldor Gunnlgssons second house, built in 1959. It evokes both Japanese and American architecture but is principally the result of a strong will and personal artistic discipline. The flat roof suspended above a large paved platform itself continuing the constructed terrain of the place has great presence and casts a heavy shadow beneath. In the interior, a single space, which can at length be divided and which flows around a central space. The space flows freely, extending through the transparency of its windows which give out onto two contrasting locations: an intimate garden patio, inspiring calm and tranquillity, and the wild nature of the sea which projects the colour of sky, both in a constant state of change. The project is realized in a rigorously formal manner. A perfect balance exists between the abstraction of his structure and his project. The wooden structure, whose order extends beyond the limits of its perimeter, is formed of complete porticos of free elements. It remains exposed, maintaining a close relationship with Mies concept of modernity, analogous to classical architecture. The preoccupation with the aesthetic effect is paramount and nothing is improvised. But in addition to this - the combination of materials and the play of textures - there is a tactile quality, a certain eroticism, which lingers all about. The constructive precision and its refinement are close to Mies. The experience of the architectural space is universal. The influence of Japanese architecture, more conceptual than formal, is revealed in a respect for nature. It can be seen in the search for refinement through moderation, the elimination of the superfluous object that distract from the experience of place and the preoccupation with light and shade, where a certain parallel with the dark world of the Nordic winter is established. There is an understanding that space, rather than being an immaterial object defined by material surfaces, extends instead as dynamic interactions. The sixth chapter. This proposes a journey to discover some of the unfamiliar residences of most interest which were constructed in the period, and which form part of the system being investigated. Through the study of comparison and one which is geared towards various themes, diverse conclusions are drawn regarding the system being researched. The expertise in substance and form will be a distinctive characteristic in Denmark, demonstrating an approach to the culture of the Orient, both conceptual and formal, and some common interests in certain American architecture. Its teachings sensitize us to a strengthened sense of proportion, scale, materiality, texture and weight and density of space. It values both the tactile and the visual. There is a sensitivity to nature, to the human, to the landscape and to the integrity of the work.
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Entre 1978 y 1979, Norman y Wendy Foster proyectan su propia vivienda en el barrio londinense de Hampstead. El proyecto ms personal de los Foster permite como en tantos otros casos rastrear los referentes, obsesiones, sueos y frustraciones de sus autores. Este proyecto representa el primer y nico intento de aplicacin en el campo de la arquitectura domstica de un modelo, denominado por Reyner Banham la nave bien servida, que utiliza la integracin de sistemas como principal estrategia proyectual. Los 18 meses de intenso trabajo reflejan, a travs de las mltiples opciones desarrolladas, la evolucin de la obra de la pareja de arquitectos, que avanza desde el funcionalismo fabril de la nave bien servida, hacia el expresionismo tecnolgico del denominado High-Tech. En los motivos del fracaso del proyecto, que no llegara a construirse, subyacen los debates y conflictos entre arquitectura e ingeniera, prefabricacin y artesana, expresionismo y funcionalismo en los que el estudio se encuentra inmerso a finales de los aos 70, y que precipitarn una nueva forma de entender la relacin entre arquitectura y tecnologa. | Between 1978 and 1979 Norman and Wendy Foster design their own home in the London neighbourhood of Hampstead. The most personal project of the Fosters allows us as in many other cases to trace the references, obsessions, dreams and frustrations of its creators. This project represents a unique attempt to apply the well-serviced shed concept as described by Reyner Banham to the domestic realm. A concept based in the use of systems integration as the main project strategy. The 18 months of intense work show, through the various options developed, the evolution of the production of the couple of architects, from the industrial functionalism of the well-serviced shed, towards the technological expressionism of the so-called High-Tech movement. In the reasons behind the failure of this unbuilt project, one can read the debates and conflicts between architecture and engineering, prefabrication and craftsmanship, expressionism and functionalism in which the practice is immerse by the end of the 1970s. A series of events that will precipitate a new way of understanding the relationship between architecture and technology.
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La bsqueda de nuevas formas de modernidad se convirti en la cuestin principal de la obras desarrolladas por Leslie Martin, Colin St. John Wilson y James Stirling entre los aos 1955 y 1970. Enmarcadas dentro de la sensibilidad surgida en la posguerra britnica, su profundo sentido crtico supone una renovada interpretacin de alguno fundamentos del Movimiento Moderno as como la reflexin sobre la modificacin y el uso de formas que tienen sus races en la tradicin cultural. Esta investigacin se estructura en cuatro temas ampliamente debatidos y que han articulado parte de la revisin moderna a lo largo de la segunda mitad del siglo XX: la abstraccin y el realismo la revisin de la idea funcionalista la reconsideracin de los arquetipos formales la relacin entre forma y contexto urbano se muestran como base crtica para las obras seleccionadas. La tendencia hacia el realismo surgi como respuesta a la voluntad de universalidad (y objetividad) que represent el lenguaje abstracto, del mismo modo que la revisin de la idea funcionalista pretendi superar la consideracin de la obra arquitectnica como producto racional de su funcin y tecnologa. La reconsideracin de los arquetipos de la tradicin, a su vez, muestra una preocupacin por el significado de las formas culturales del pasado, una cuestin igualmente decisiva en la renovada atencin a la estructura de la ciudad histrica. Estos temas evidencian un inters por ampliar la arquitectura moderna sin que el reconocimiento de las formas del pasado suponga un distanciamiento respecto al futuro. La idea de revisin, asimismo, se convierte en estrategia a la hora de encontrar nuevas respuestas. Si algunos de los principios del Movimiento Moderno surgen como reaccin al clasicismo Beaux Arts que le precedi, las propuestas analizadas muestran la validez operativa de este enfoque para crear obras de una intensa modernidad. Su inters, por lo tanto, no solo radica en su consideracin como objetos de estudio que amplan nuestro conocimiento de un perodo determinado, sino como tradicin reciente que sirve de base crtica para la prctica actual. ABSTRACT The search of new forms of modernity became the main theme of the works developed by Leslie Martin, Colin St. John Wilson and James Stirling between 1955 and 1970. Belonging to the sensitivity emerged in postwar Britain, their deep critical sense encourages a renewed interpretation of some principles of Modern Movement and a reflection about the modification or the use of forms that are rooted in cultural tradition. This research is divided into four themes widely discussed and which has articulated part of modern review along the second half of the twentieth century: Abstraction and realism Review of Functionalism The reconsideration of the formal archetypes The relationship between form and urban context are shown as critical base for the selected works. The trend toward realism arose in response to the will of universality (and objectivity) that represented the abstract language, just as the review of Functionalism aimed to overcome the consideration of architecture's work as rational product of its function and technology. The reconsideration of traditional archetypes, in turn, shows a concern for the meaning of the cultural forms, a matter equally decisive in the renewed attention to the structure of the historical city. These themes evidence an interest to extend modern architecture, without thereby the recognition of the past forms imply a distancing regarding the future. The idea of review also becomes strategy in finding new answers. If some principles of the Modern Movement arose in reaction to Beaux-Arts classicism which preceded it, the analyzed proposals show the operational validity of this approach to create works of a strong modernity. Their interest, therefore, lies not only in its consideration as study cases that broaden our knowledge of a certain period, but as a recent tradition which serves as a critic basis for the current practice.
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This paper proposes a new approach to the study of sociological classics. This approach is pragmatic in character. It draws upon the social pragmatism of G.H. Mead and the sociology of texts of D.F. McKenzie. Our object of study is Norbert Eliass On the Process of Civilization. The pragmatic genealogy of this book reveals the importance of taking materiality seriously. By documenting the successive entanglements between human agency and non-human factors, we discuss the origins of the book in the 1930s, how it was forgotten for thirty years, and how in the mid-1970s it became a sociological classic. We explain canonization as a matter of fusion between books material form and its content, in the context of the paperback revolution of the 1960s, the events of May 1968, and the demise of Parsons structural functionalism, and how this provided Elias with an opportunity to advance his model of sociology.
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This paper aims to explore the issue of unintended consequences as the key underlying theme that explains the incremental integration of policies in the EU, with a particular focus on the issue of environmental protection. The theoretical background of the present research is provided by two of the main schools of thought that, in different historical contexts, have theorized unintended consequences as a relevant interpretative/analytical tool for European integration, namely neo-functionalism and neo-institutionalism. The paper focuses on three distinctive moments of the EU environmental policy: the first steps in the 1970s, the change of regulatory paradigm during the 1990s, and the EU leadership role in global environmental policy. The main argument is that while neo-functionalism can give a convincing account of the initial phases of EU environmental policy, neo-institutionalism offers a persuasive framework to understand the consolidation phases of the policy.
Should the knowledge-based economy be a savant or a sage? Wisdom and socially intelligent innovation
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Discourse about knowledge-based economies rarely moves beyond the commercialization of science and engineering, and is locked in the discursive limits of functionalism. We argue that these discourses limit the scope of what knowledge-based economies might achieve because they are uninformed by an adequate conception of knowledge. In particular, knowledge management and knowledge-based economy discourse has not included the axiological dimension of knowledge that leads to wisdom. Taking an axiological perspective, we can discuss policy frameworks aimed at producing the social structures needed to bring fully formed and fully functioning knowledge societies into being. We argue that while the dominant discourse of industrial modernity remains rationalist, functionalist, utilitarian and technocratic, knowledge-based economies will resemble a savant rather than a sage. A wisdom-based renaissance of humanistic epistemology is needed to avoid increasing social dysfunction and a lack of wisdom in complex technological societies.
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Time after time and aspect and mood. Over the last twenty five years, the study of time, aspect and - to a lesser extent - mood acquisition has enjoyed increasing popularity and a constant widening of its scope. In such a teeming field, what can be the contribution of this book? We believe that it is unique in several respects. First, this volume encompasses studies from different theoretical frameworks: functionalism vs generativism or function-based vs form-based approaches. It also brings together various sub-fields (first and second language acquisition, child and adult acquisition, bilingualism) that tend to evolve in parallel rather than learn from each other. A further originality is that it focuses on a wide range of typologically different languages, and features less studied languages such as Korean and Bulgarian. Finally, the book gathers some well-established scholars, young researchers, and even research students, in a rich inter-generational exchange, that ensures the survival but also the renewal and the refreshment of the discipline. The book at a glance The first part of the volume is devoted to the study of child language acquisition in monolingual, impaired and bilingual acquisition, while the second part focuses on adult learners. In this section, we will provide an overview of each chapter. The first study by Aviya Hacohen explores the acquisition of compositional telicity in Hebrew L1. Her psycholinguistic approach contributes valuable data to refine theoretical accounts. Through an innovating methodology, she gathers information from adults and children on the influence of definiteness, number, and the mass vs countable distinction on the constitution of a telic interpretation of the verb phrase. She notices that the notion of definiteness is mastered by children as young as 10, while the mass/count distinction does not appear before 10;7. However, this does not entail an adult-like use of telicity. She therefore concludes that beyond definiteness and noun type, pragmatics may play an important role in the derivation of Hebrew compositional telicity. For the second chapter we move from a Semitic language to a Slavic one. Milena Kuehnast focuses on the acquisition of negative imperatives in Bulgarian, a form that presents the specificity of being grammatical only with the imperfective form of the verb. The study examines how 40 Bulgarian children distributed in two age-groups (15 between 2;11-3;11, and 25 between 4;00 and 5;00) develop with respect to the acquisition of imperfective viewpoints, and the use of imperfective morphology. It shows an evolution in the recourse to expression of force in the use of negative imperatives, as well as the influence of morphological complexity on the successful production of forms. With Yi-An Lins study, we concentrate both on another type of informant and of framework. Indeed, he studies the production of children suffering from Specific Language Impairment (SLI), a developmental language disorder the causes of which exclude cognitive impairment, psycho-emotional disturbance, and motor-articulatory disorders. Using the Leonard corpus in CLAN, Lin aims to test two competing accounts of SLI (the Agreement and Tense Omission Model [ATOM] and his own Phonetic Form Deficit Model [PFDM]) that conflicts on the role attributed to spellout in the impairment. Spellout is the point at which the Computational System for Human Language (CHL) passes over the most recently derived part of the derivation to the interface components, Phonetic Form (PF) and Logical Form (LF). ATOM claims that SLI sufferers have a deficit in their syntactic representation while PFDM suggests that the problem only occurs at the spellout level. After studying the corpus from the point of view of tense / agreement marking, case marking, argument-movement and auxiliary inversion, Lin finds further support for his model. Olga Gupol, Susan Rohstein and Sharon Armon-Lotems chapter offers a welcome bridge between child language acquisition and multilingualism. Their study explores the influence of intensive exposure to L2 Hebrew on the development of L1 Russian tense and aspect morphology through an elicited narrative. Their informants are 40 Russian-Hebrew sequential bilingual children distributed in two age groups 4;0 4;11 and 7;0 - 8;0. They come to the conclusion that bilingual children anchor their narratives in perfective like monolinguals. However, while aware of grammatical aspect, bilinguals lack the full form-function mapping and tend to overgeneralize the imperfective on the principles of simplicity (as imperfective are the least morphologically marked forms), universality (as it covers more functions) and interference. Rafael Salaberry opens the second section on foreign language learners. In his contribution, he reflects on the difficulty L2 learners of Spanish encounter when it comes to distinguishing between iterativity (conveyed with the use of the preterite) and habituality (expressed through the imperfect). He examines in turn the theoretical views that see, on the one hand, habituality as part of grammatical knowledge and iterativity as pragmatic knowledge, and on the other hand both habituality and iterativity as grammatical knowledge. He comes to the conclusion that the use of preterite as a default past tense marker may explain the impoverished system of aspectual distinctions, not only at beginners but also at advanced levels, which may indicate that the system is differentially represented among L1 and L2 speakers. Acquiring the vast array of functions conveyed by a form is therefore no mean feat, as confirmed by the next study. Based on the prototype theory, Kathleen Bardovi-Harligs chapter focuses on the development of the progressive in L2 English. It opens with an overview of the functions of the progressive in English. Then, a review of acquisition research on the progressive in English and other languages is provided. The bulk of the chapter reports on a longitudinal study of 16 learners of L2 English and shows how their use of the progressive expands from the prototypical uses of process and continuousness to the less prototypical uses of repetition and future. The study concludes that the progressive spreads in interlanguage in accordance with prototype accounts. However, it suggests additional stages, not predicted by the Aspect Hypothesis, in the development from activities and accomplishments at least for the meaning of repeatedness. A similar theoretical framework is adopted in the following chapter, but it deals with a lesser studied language. Hyun-Jin Kim revisits the claims of the Aspect Hypothesis in relation to the acquisition of L2 Korean by two L1 English learners. Inspired by studies on L2 Japanese, she focuses on the emergence and spread of the past / perfective marker ess- and the progressive ko iss- in the interlanguage of her informants throughout their third and fourth semesters of study. The data collected through six sessions of conversational interviews and picture description tasks seem to support the Aspect Hypothesis. Indeed learners show a strong association between past tense and accomplishments / achievements at the start and a gradual extension to other types; a limited use of past / perfective marker with states and an affinity of progressive with activities / accomplishments and later achievements. In addition, - ko iss moves from progressive to resultative in the specific category of Korean verbs meaning wear / carry. While the previous contributions focus on function, Evgeniya Sergeeva and Jean-Pierre Chevrots is interested in form. The authors explore the acquisition of verbal morphology in L2 French by 30 instructed native speakers of Russian distributed in a low and high levels. They use an elicitation task for verbs with different models of stem alternation and study how token frequency and base forms influence stem selection. The analysis shows that frequency affects correct production, especially among learners with high proficiency. As for substitution errors, it appears that forms with a simple structure are systematically more frequent than the target form they replace. When a complex form serves as a substitute, it is more frequent only when it is replacing another complex form. As regards the use of base forms, the 3rd person singular of the present and to some extent the infinitive play this role in the corpus. The authors therefore conclude that the processing of surface forms can be influenced positively or negatively by the frequency of the target forms and of other competing stems, and by the proximity of the target stem to a base form. Finally, Martin Howards contribution takes up the challenge of focusing on the poorer relation of the TAM system. On the basis of L2 French data obtained through sociolinguistic interviews, he studies the expression of futurity, conditional and subjunctive in three groups of university learners with classroom teaching only (two or three years of university teaching) or with a mixture of classroom teaching and naturalistic exposure (2 years at University + 1 year abroad). An analysis of relative frequencies leads him to suggest a continuum of use going from futurate present to conditional with past hypothetic conditional clauses in si, which needs to be confirmed by further studies. Acknowledgements The present volume was inspired by the conference Acquisition of Tense Aspect Mood in First and Second Language held on 9th and 10th February 2008 at Aston University (Birmingham, UK) where over 40 delegates from four continents and over a dozen countries met for lively and enjoyable discussions. This collection of papers was double peer-reviewed by an international scientific committee made of Kathleen Bardovi-Harlig (Indiana University), Christine Bozier (Lund Universitet), Alex Housen (Vrije Universiteit Brussel), Martin Howard (University College Cork), Florence Myles (Newcastle University), Urszula Paprocka (Catholic University of Lublin), Clive Perdue (Universit Paris 8), Michel Pierrard (Vrije Universiteit Brussel), Rafael Salaberry (University of Texas at Austin), Suzanne Schlyter (Lund Universitet), Richard Towell (Salford University), and Daniel Vronique (Universit dAix-en-Provence). We are very much indebted to that scientific committee for their insightful input at each step of the project. We are also thankful for the financial support of the Association for French Language Studies through its workshop grant, and to the Aston Modern Languages Research Foundation for funding the proofreading of the manuscript.
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Hayeks theory of socio-cultural evolution is a generalization of his theory on spontaneous market order. Hayek explains both the emergence of market and social institutions serving as a social basis for that order within the framework of a unified evolutionary logic. This logic interprets the emergence and survival of spontaneous order and group-level rules of conduct as an unintended consequence of human action. In order to explain the emergence of social norms exclusively on the basis of methodological individualism, one would have to give up an exclusively evolutionary explanation of these norms. Since Hayek applies the invisible-hand explanation to the investigation of social norms, he combines the position of methodological individualism with functionalist-evolutionary arguments in his analysis. Hayeks theory of socio-cultural evolution represents a theory in the framework of which methodological individualism and functionalism do not crowd out but complement each other.
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Hayek's theory of socio-cultural evolution is a generalization of his theory on spontaneous market order. Hayek explains both the emergence of market and social institutions serving as a social basis for that order within the framework of a unified evolutionary logic. This logic interprets the emergence and survival of spontaneous order and group-level rules of conduct as an unintended consequence of human action. In order to explain the emergence of social norms exclusively on the basis of methodological individualism, one would have to give up an exclusively evolutionary explanation of these norms. Since Hayek applies the invisiblehand explanation to the investigation of social norms, he combines the position of methodological individualism with functionalist-evolutionary arguments in his analysis. Hayek's theory of socio-cultural evolution represents a theory in the framework of which methodological individualism and functionalism do not crowd out but complement each other.
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Social issues are assessed from different perspectives. The purpose here is to evaluate one short article in terms of interpretive social theory and then briefly assess it in terms of functionalism, conflic theory and critical theory.
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The Ellison Executive Mentoring Inclusive Community Building (ICB) Model is a paradigm for initiating and implementing projects utilizing executives and professionals from a variety of fields and industries, university students, and pre-college students. The model emphasizes adherence to ethical values and promotes inclusiveness in community development. It is a hierarchical model in which actors in each succeeding level of operation serve as mentors to the next. Through a three-step process--content, process, and product--participants must be trained with this mentoring and apprenticeship paradigm in conflict resolution, and they receive sensitivitiy and diversity training, through an interactive and dramatic exposition. The content phase introduces participants to the model's philosophy, ethics, values and methods of operation. The process used to teach and reinforce its precepts is the mentoring and apprenticeship activities and projects in which the participants engage and whose end product demontrates their knowledge and understanding of the model's concepts. This study sought to ascertain from the participants' perspectives whether the model's mentoring approach is an effective means of fostering inclusiveness, based upon their own experiences in using it. The research utilized a qualitative approach and included data from field observations, individual and group interviews, and written accounts of participants' attitudes. Participants complete ICB projects utilizing the Ellison Model as a method of development and implementation. They generally perceive that the model is a viable tool for dealing with diversity issues whether at work, at school, or at home. The projects are also instructional in that whether participants are mentored or seve as apprentices, they gain useful skills and knowledge about their careers. Since the model is relatively new, there is ample room for research in a variety of areas including organizational studies to dertmine its effectiveness in combating problems related to various kinds of discrimination.
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Jamaican family structures have long felt the impact of unstable internal economic conditions and high volume of labor demands originating from England, Canada, the United States, and other larger societies. In response to the economic conditions and labor demands, increasing numbers of Jamaican women have migrated away from home, both within Jamaica and to other countries. Subsequently, many Jamaicans' households are restructured using a method called child shifting. This refers to "the relocation of children between households." Using three major theoretical paradigms: cultural diffusion, social pathology, and structural functionalism, this study explores the literature of child shifting to understand how economic conditions influence matrifocal families and in particular their child rearing practices. This study employs the structural functionalism paradigm's focus on "adaptive responses" to find plausible explanations for child shifting patterns. The primary premise of the "adaptive responses" approach is that economic marginality leads to certain adaptive responses in residential, kinship, and child rearing patterns. This study finds certain adjustment problems associated with child shifting. These include shifted children developing feelings of abandonment, of anxiety, of loss, and having difficulty trusting after the shifting occurs. These costs may outweigh the benefits of child shifting.
