Truth is God harm minimization through the practice of ecologically sustainable design and buddhism

The emergence of the global ecological crisis is presenting unique opportunities for the coordination of ethical thinking across cultural boundaries. Harm minimization as an ethical imperative operates as the ‘modus operandi’ behind both Ecologically Sustainable Design (ESD) and Buddhist practice. The architectural response to ESD is founded upon the ‘Declaration of Interdependence for a Sustainable Future’ adopted in 1993 by the International Union of Architects, of which the RAIA is a member.

Buddhism is a response to existential concerns universal to humanity. It developed as a set of principles for personal transformation known as the Four Noble Truths elucidated two and a half thousand years ago. Buddhist meditation practise ‘interrupts automatic patterns of conditioned behaviour’ recognised as the major obstacle to be overcome in any programme for change. Unsustainable egocentric behaviour is considered fundamental to our global ecological crisis and calls for radical behavioural change are increasingly being heard at the professional as well as the personal level. Emerging synergies between the Western cognitive sciences and Buddhist study of the mind increasingly validate the Tibetan Buddhist mind development phenomenon. Buddhists argue that their programme for enhancing ethical behaviour through mind development is a step-by step process of observation and analysis built upon empirical observation – a fundamental pre-requisite of any ‘scientific’ enquiry. Collaborative research programmes currently underway are an attempt to re-interpret Buddhist meditation techniques within a framework acceptable to Western scientific understanding. A truly holistic approach to harm minimization requires its consideration.

Beyond the gap: great liberation through architectural design teaching in the bardo?

Tibetan Buddhists articulate the bardo as the gap that exists between one fundamental stage of existence and another. Its most common usage is to describe the interval between death and reincarnation, but more literally, bar means 'in-between' and do 'island' or 'mark'. The 'bardo experience' is thus any one in which the 'past situation has just occurred and the future situation has not yet manifested itself. Instruction in architectural design attempts to provide guidance in the process of guiding students across the bardo from intention, analysis, and theorisation, to the creation of architectural representations and products. As such the architectural academy operates within a history of methods and codifications which try to quantify and bring a level of certainty to this process.
Recently however, there has been a questioning of traditionally accepted ways of ‘knowing’ the world, which has manifested in challenges to received ‘truths’ and increasing interest in other, previously marginalised histories and knowledges. The critiques that flow from this questioning contend that objective cultural ‘truths’ are simply the discursive result of the dominance of particular ways of perceiving the world. The practice of architecture has not been immune from this. The field has become a subject, for instance, of sociological, feminist and postcolonial critiques. However, their bearing on the pedagogy of composing architecture remains fragmentary and contested. My interest in this subject is derived from a desire to use the opportunities presented by contemporary cultural shifts to develop design-based architectural research that will assist future architects to operate in the uncertainties of an irreducibly plural global community. This paper will explore some ways in which academic research might bear upon the design studio’s negotiation of architectural bardos.

Rhetoric versus practice: 'limits' in early modernism

This paper looks at the relationship between rhetoric and practice in the early days of Modernism in Europe by two proponents, Otto Wagner and Adolf Loos. It interprets their 'discrepancies' not so much as limits but different forms of rhetoric.

Establishing best-practice principles for the teaching of group design projects

As student-to-staff ratios escalate, increasing numbers of undergraduate architects are finding the reduction of ‘one-to-one’ studio supervision an impediment to learning. Group design projects are becoming a widespread solution to this problem. However, little analysis has been undertaken as to their effectiveness both in terms of student assessment and as a design teaching methodology.
The two hundred years of apprentice/master tradition that underpins the atelier studio system is still at the core of much present day architectural design education. Yet this tradition today poses uncertainties for a large number of co-ordinating lecturers faced with current changes in the nature of tertiary education and its funding structure. In particular, with reductions in staff/student contact time, in sessional funding sources and in the relative weighting of design-based subjects with respect to other subject areas, many design teachers are finding it increasingly difficult to maintain an atelier system that has shaped both their learning and, more pointedly, their teaching. If these deficiencies remain unchecked and design-based schools are unable to implement strategies that successfully overcome the resource intensive one-to-one teaching program, then architecture may prove to be an untenable course structure for many institutions.
Rather then spreading their time thinly, many co-ordinating lecturers are setting group projects in order to review less assignments but at greater depth. However, while this learning model better reflects design teams in practice, this approach may pose other pedagogical and assessment questions. What is clear is the urgent need for structured research into the teaching and assessment problems experienced by design teachers, and for a readily adoptable pedagogy for group design projects. At Deakin University, research is underway aimed at establishing best-practice principles for group design projects by analysing students’ performance and recording and implementing their feedback to adjustments made to the pedagogical fundamentals of assessment, group configuration, and program structure. There are after two years of preliminary studies already clear indications of what changes can be made to these to encourage more effective team learning. This paper will present the findings of these studies.

How practice size impacts on the implementation and dissemination of post occupancy evaluation

There has been much research on the subject of environmentally sustainable design (ESD), with emerging techniques and technologies improving rapidly and informing sustainability higher education teaching to architects and prospective architects. By examining the success of sustainable designs using post occupancy evaluations, architectural practices might also increase their knowledge of sustainable building practice. Post occupancy evaluations could be useful for improving the designs of future buildings and the design processes that generated them. This paper aims to evaluate these claims by asking: "Do sustainable design practices use the feedback gained from post occupancy evaluations?," "How does the feedback refine the design process?," "How is the information gained in these evaluations absorbed within the firm's design practices?," and, "Does the size of a practice impact on its implementation and
dissemination of POE?" This paper investigates the questions posed above through the questioning of architectural practices that have gained a reputation for environmentally sustainable design by having a strong sustainable design philosophy and/or by being recognised for this by winning a sustainability design award. The interviewed practices will have provided some form of post occupancy evaluation as a service or employed them to add to their own knowledge.

Between theory and practice : Rudolf Steiner as philosopher and architect

The philosophy and architecture of Rudolf Steiner both aim to give formal expression to his esoteric worldview, however, the means of articulating this worldview fundamentally differ within each discipline. Philosophy and architecture are separated by both process and product, and while an interdisciplinary reading of Steiner’s work does make certain connections between them evident, the incorporeal nature of thinking and the physical reality of building inevitably require different skills of their author, as well as different standards by which to assess them. Although he had no formal training as an architect, Steiner believed that his system of Anthroposophy provided a conceptual framework that would inspire a new style of modern architecture imbued with a spiritual dimension. As such, architecture provided Steiner with a means of visually expressing what words could not, and was therefore a necessary and important part of his philosophical pursuit. This paper explores the tension that exists between Steiner’s philosophy and architecture in its translation from theoretical ideas into built form. Steiner’s approach to architectural design was less concerned with the methods and techniques of the craft than with achieving what he saw as architecture’s true purpose - namely to give voice to the inner spiritual content of the work. However, in order to achieve this ultimate goal, a certain level of architectural competence is required. Therefore, Steiner’s ability as an architect to articulate such lofty ideals will also be assessed. Conceived on the edge of theory and practice, Steiner’s work serves to demonstrate the richness and depth that such an approach has to offer the field of architecture.

Factors impeding the offsite production of housing construction in China: an investigation of current practice

The promotion of offsite production is a possible future strategic direction for the construction industry as it provides economic, environmental and social benefits. However, in China, the uptake of offsite production, particularly in the housing sector, is relatively low and few studies have identified and examined the reasons behind this trend. This research gap is addressed and factors that inhibit the wider use of offsite production in China’s housing construction industry are investigated. A questionnaire survey was carried out, examining the views of 110 construction professionals in China including developers, designers, contractors, manufacturers and suppliers. Factor analysis of 21 separate variables was undertaken which extracted six principal factors, namely: ‘constructability implementation’, ‘social climate and attitudes’, ‘architectural performance’, ‘costing’, ‘supply chain’ and ‘preparatory stage’. The findings identify both barriers and challenges to increasing the uptake of offsite production in China. This provides a rare insight about the housing construction industry in China with possible implications for other developing countries that are seeking to identify and overcome barriers to the wider uptake of offsite production.

Hiroshima Peace Memorial Park : an architectural consignation

Like many major urban developments designed by modernist architects. Kenzo Tange's Hiroshima Peace Memorial Park is considered by some to be founded upon tabula rasa- a blank site and/or architectural approach unconstrained by historic and aesthetic precedents. Tabula rasa is associated with a tendency to 'forget' or repress the past in order to opportunistically move on with the future. Constructed near 'ground zero' - on the site of just part of the established urban environment obliterated by the atomic bombing of Hiroshima on 6 August 1945- the tabula rasa here, however, is not achieved simply due to a conscious or critical urban design decision to move away from past urban forms and practices but through an unforseen trauma. This paper questions the application of an unqualified label of tabula rasa to Tange's Hiroshima Peace Memorial Park. Focusing on Tange's writing about the Peace Park - a 1954 article entitled "Hiroshima Plan 1946-1953" in particular - and reflecting on the repeated architectural returns of Kenzo Tange and Associates to the site, this paper raises Freud's "Mystic Writing Pad" as an alternative model. It argues for a more complex consideration of the memory-work of Tange's written practice and the light it may bring to a reconsideration of this foundational architectural project within his oeuvre.

Indigenous landscape change and climate change : the historical transformation of the Port Phillip bay from an indigenous and landscape architectural perspective

Currently there is a dearth of research into Australian Indigenous knowledge and their understanding of climate change especially in regard to how it fits into an Indigenous world view. Recent discussions by the National Climate Change Adaptation Research Facility (NCCARF) have highlighted this deficiency and also the need to source projects that address this perspective, and enable the incorporation of traditional ecological knowledge into the planning of climate change adaption strategies. Within this context, this paper examines the use and understanding of landscape, both urban and regional, surrounding Port Phillip Bay and the risks and opportunities climate change adaptation brings to the local Indigenous communities. This paper comprises a literature review and proposes further research with the Wurundjeri (Yarra Valley), Wathaurong (Geelong-Bellarine Peninsula) & Boon Wurrung (Mornington Peninsula - Westerport - southern Melbourne) which aim to elicit a contemporary and local response to issues raised by NCCARF but importantly to articulate a possible Indigenous position about the formation, change and direction that Port Phillip Bay and its environs should take from their perspectives. The research looks to draw on how these communities have adapted to climate change physically, mentally and spiritually over their long habitation of the region and their perceptions of climate change this century. The project looks to uncover a longitudinal perspective of adaptation focused upon Indigenous views of 'country' and custodial obligations to 'country' including accumulated cultural and environmental histories, and how this can inform the contemporary practice of landscape architecture and the design of resilient and sustainable human environments.

Research in practice : an exercise in generative urban massing

The following paper explores practice based research as a means of identifying issues within current urban design methods. It considers the application of parametric systems as a means of addressing these issues. These systems are developed and tested across both Australian and international urban design projects within Grimshaw Architects. A methodology is proposed for the development and application of these parametric tools across multiple scales of design resolution. It reports on the application of a set of parametric urban scale massing tools in real world design projects. This exploration is carried out in distinct phases of design defined by the scale of resolution. The phasing allows for discrete problems to be addressed more effectively at different stages of the design process while still encouraging a seamless, bi directional workflow through a digital master model.

An issues paper: the roots/routes of Australian architecture: elements of an alternative architectural history

The dynamism and mobility of architects in their approach to architecturaldesign practice provides a context that emphasises that architecture, likeculture, is not static or rooted in place, but is intricately configured throughthe dual processes of locality and mobility – both physical and theoretical. Theproduction of architecture in Australia, as in other immigrant-rich societies,provides a case for reinforcing the theory that architectural mobility and travelare integral to the architecture of place.This issues paper sets out to re-examine the contribution of geo-culturalinfluences upon Australia’s architectural lineage and considers a diverse rangeof themes across an equally broad timeframe; British colonial transpositions; thedissemination of Modernism in Australia; the latent contribution of mid-twentiethcentury European émigré architects; and the secreted history of Australia’sAsian architecture. Common to all, however, is the notion of architecturaltranslation as a process of influences transmitted, transposed or adapted toother contexts. It uses Australia as the focus from which to consider how globalcriticism, ideas and theories have travelled and continue to travel transverselyacross time and place, from the late-eighteenth century well into the twenty-first.This paper investigates translations through narratives, processes, networks andtraces of architectural manifestations and begins to draw lines of influence.

Prefabricated modular housing: research vs practice

 Abstract: Prefabricated and modular solutions have formed a small part of the overall housing industry. This is particularly evident in Australia, where the market is dominated by hand-built housing using traditional construction techniques built by large-scale builders. This paper evaluates the ideal and the reality of prefabricated modular housing procurement in China for the Australian market. While there have been prefabricated components for the housing industry, primarily, most solutions are of volumetric nature. The findings question our understanding and methodology to prefabrication for Australia. The experiences of introducing building services into modules (pods) from overseas fabrication also have shortcomings. The case study presented indicates several of these problems and suggests a hybrid solution to volumetric delivery.

Drawing and surface: freehand architectural drawing mediated by digital

This paper discusses the redefinition of the function of freehand drawing in the design process in view of intuitive digital media. It sets forth an interpretive analysis of an experiment with drawing on opaque tablets, carried out with a group of students of the Instituto de Arquitetura e Urbanismo da Universidade de São Paulo. After a brief review of the current debate on freehand drawing and the advent of digital media, we examine the experiment as a possible way to elicit facts that may contribute to the discussion. To this end, our research has concentrated on the intuitive use enabled by existing digital media. It is our intention that this empirical approximation becomes a pilot experiment for the use of digital tablets in the process of construction the gaze of the student in Architecture and Urbanism as a reflection on the different cognitive dimensions that constitute the practice of drawing and its reinterpretation to develop new ideas.