Cinematic and Architectonic Space in Tarkovsky's Solaris

Architecture plays an important role in Andrei Tarkovsky’s films in defining the atmosphere of a space and memory of a place. This paper is a study of how the settings in Tarkovsky’s Solaris (1972) are used to provoke and convey feelings to the audience through architectonic space depicting the city, library, home and aspects of the home such as paintings and mirrors. The rooms depicted in Solaris (Fig. 1) are filled with symbolism and detail. They are imbued with a poetic quality rarely seen in cinema. The everyday places of city, library and home in Solaris are given an emotional depth not usually found in these spaces in reality. Solaris is an anomaly among Tarkovsky’s films in that the majority of the narrative takes place in an enclosed built set. Rarely do Tarkovsky spaces exert so much control over the actors’ movements within a meticulously designed and detailed set. This paper analyses how the director uses constructed sets in Solaris to confront our perception of memories, dreams and reality.
The intent of this study is to gain better understanding of the link between architecture and other art forms such as painting and cinema through spatial analysis. This study also relates to our imagination and how we perceive architectonic space portrayed through cinematic images. The architectural theory of Juhani Pallasmaa forms the basis of this paper.

Architectonic subdivisions of the amygdalar complex of a primitive marsupial (Didelphis aurita)

The architecture of the amygdaloid complex of a marsupial, the opossum Didelphis aurita, was analyzed using classical stains like Nissl staining and myelin (Gallyas) staining, and enzyme histochemistry for acetylcholinesterase and NADPH-diaphorase. Most of the subdivisions of the amygdaloid complex described in eutherian mammals were identified in the opossum brain. NADPH-diaphorase revealed reactivity in the neuropil of nearly all amygdaloid subdivisions with different intensities, allowing the identification of the medial and lateral subdivisions of the cortical posterior nucleus and the lateral subdivision of the lateral nucleus. The lateral, central, basolateral and basomedial nuclei exhibited acetylcholinesterase positivity, which provided a useful chemoarchitectural criterion for the identification of the anterior basolateral nucleus. Myelin stain allowed the identification of the medial subdivision of the lateral nucleus, and resulted in intense staining of the medial subdivisions of the central nucleus. The medial, posterior, and cortical nuclei, as well as the amygdalopiriform area did not exhibit positivity for myelin staining. On the basis of cyto- and chemoarchitectural criteria, the present study highlights that the opossum amygdaloid complex shares similarities with that of other species, thus supporting the idea that the organization of the amygdala is part of a basic plan conserved through mammalian evolution. (C) 2008 Elsevier Inc. All rights reserved.

“Filming in Progress”: New spaces for multimodal designing

Global trends call for new research to investigate multimodal designing mediated by new technologies and the implications for classroom spaces. This article addresses the relationship between new technologies, students’ multimodal designing, and the social production of classroom spaces. Multimodal semiotics and sociological principles are applied to a series of claymation movie-making lessons in an upper primary school in Australia. The analysis focuses on the social meanings embedded in the multimodal spaces of the classroom—dialogic, bodily, embodied, architectonic, and screen spaces. The findings demonstrate how the uses of new technologies and the students’ multimodal learning were tied to important transformations of space.

Multimodal and monomodal discourses of marketization in higher education : power, ideology, and the absence of the image

The ubiquity of multimodality in hypermedia environments is undeniable. Bezemer and Kress (2008) have argued that writing has been displaced by image as the central mode for representation. Given the current technical affordances of digital technology and user-friendly interfaces that enable the ease of multimodal design, the conspicuous absence of images in certain domains of cyberspace is deserving of critical analysis. In this presentation, I examine the politics of discourses implicit within hypertextual spaces, drawing textual examples from a higher education website. I critically examine the role of writing and other modes of production used in what Fairclough (1993) refers to as discourses of marketisation in higher education, tracing four pervasive discourses of teaching and learning in the current economy: i) materialization, ii) personalization, iii) technologisation, and iv) commodification (Fairclough, 1999). Each of these arguments is supported by the critical analysis of multimodal texts. The first is a podcast highlighting the new architectonic features of a university learning space. The second is a podcast and transcript of a university Open Day interview with prospective students. The third is a time-lapse video showing the construction of a new science and engineering precinct. These three multimodal texts contrast a final web-based text that exhibits a predominance of writing and the powerful absence or silencing of the image. I connect the weightiness of words and the function of monomodality in the commodification of discourses, and its resistance to the multimodal affordances of web-based technologies, and how this is used to establish particular sets of subject positions and ideologies through which readers are constrained to occupy. Applying principles of critical language study by theorists that include Fairclough, Kress, Lemke, and others whose semiotic analysis of texts focuses on the connections between language, power, and ideology, I demonstrate how the denial of image and the privileging of written words in the multimodality of cyberspace is an ideological effect to accentuate the dominance of the institution.

Tila tilassa : Liturgian ja tilan dialogi alttarin äärellä

This study examines the organisation and transformation of altar space in the modern Evangelical Lutheran Church of Finland in liturgical and architectural perspective. The research data consists of 65 altar spaces in The Finnish Evangelical Lutheran church buildings. All of these were characterised in Church Government records as churches , built 1962 1999 and had been consecrated. The main data was collected by means of observation, photographing, and drawing sketches of altar spaces. The focus of this study concerns the organisation of modern Finnish Evangelical Lutheran altar spaces and, in particular, their changes also in relation to the liturgical movement. The challenge of this approach was especially in discovering the spatial identity of an altar space in terms of unequivocal boundaries. The analysis was realised in three stages. Interiors, the organisation of altar space, as well as architectonic qualities of altar spaces in terms of floor elevations, shapes of ceilings, lighting, and openings in the altar space were analysed. Moreover, attention was focused on furnishing and fixed versus movable pieces of furniture (such as the altar, altar rail, the pulpit, the baptismal font, and lectern). Finally, the potential qualitative and quantitative changes in altar space were examined. All in all, the majority of churches in the data featured elongated church halls with an altar at the end of the nave. To look at the data in chronological perspective, increasingly wide church halls had been built since the 1980s (yet there was only one central hall in which the altar was placed at the middle point of the church). Every third church altar was movable. As for the focal point of this study and the altar in particular, it was my aim to pay attention to the versus populum altar and its development in relation to the (Lutheran) liturgy. Hence, it was meaningful to determine, in terms of interior design, whether liturgists were able to celebrate facing the people attending the service. In the 1960s and 70s, a versus orientem altar featured in more than half of all new Finnish Lutheran churches, yet in 2000 two out of three churches featured a versus populum altar. For architectural and esthetic reasons (and not primarily due to liturgical ideas), also altars standing freely off the walls had been constructed. In terms of the liturgy, versus populum altars had been realised in expectation of increased communication between liturgist and worshippers. However, the analysis indicated that the altar could also become a divider of space. This aspect is a novel finding in relation to earlier and concurrent discussions concerning the liturgical movement. This study concluded, all in all, that altars had been increasingly constructed closer and closer to the worshiping parish and, accordingly, used increasingly often in the versus populum manner. Lecterns were often movable until the millennium this was the case in most altar spaces. Baptismal fonts did not have a permanent place in this data, and the data even included altar spaces with no baptismal fonts in the choir, nor the church hall. The position and status of fonts was generally weakened even if baptism in the Lutheran Church was regarded as one of the two sacraments together with the eucharist. The study concluded that even if baptism is regarded as a sacrament in the church, the position and status of baptismal fonts had weakened overall in newer church architecture. In other words, the tendency of the liturgical movement to emphasise the service and its celebration had obviously had its effect on the placement of baptismal fonts in the church hall. This research indicated that the pieces of furniture that mostly involved (many kinds of) visual and spatial changes included the altar and the lectern. In certain instances, fixed furnishings had been substituted by movable pieces or, moreover, new pieces of furniture and paraphernalia such as music instruments, pieces of art, tables, chairs and plants were brought in. In the Evangelical Lutheran Church of Finland, liturgical changes were principally inspired by the Catholic Church, in which liturgical changes are essentially based on Canon Law. Unlike Finnish Lutheranism, Catholicism provides detailed rules and principles even regarding the design of an altar space. According to this study, in the Finnish Lutheran Church, the primarily functional nature of given guidelines and instructions characterises several practical solutions in furnishing.

On the Narrative Construction of Multinational Corporations: An Antenarrative Analysis of Legitimation and Resistance in a Cross-Border Merger

Although extant research has highlighted the role of discourse in the cultural construction of organizations, there is a need to elucidate the use of narratives as central discursive resources in unfolding organizational change. Hence, the objective of this article is to develop a new kind of antenarrative approach for the cultural analysis of organizational change. We use merging multinational corporations (MNCs) as a case in point. Our empirical analysis focuses on a revelatory case: the financial services group Nordea, which was built by combining Swedish, Finnish, Danish, and Norwegian corporations. We distinguish three types of antenarrative that provided alternatives for making sense of the merger: globalist, nationalist, and regionalist (Nordic) antenarratives. We focus on how these antenarratives were mobilized in intentional organizational storytelling to legitimate or resist change: globalist storytelling as a means to legitimate the merger and to create MNC identity, nationalist storytelling to relegitimate national identities and interests, Nordic storytelling to create regional identity, and the critical use of the globalist storytelling to challenge the Nordic identity. We conclude that organizational storytelling is characterized by polyphonic, stylistic, chronotopic, and architectonic dialogisms and by a dynamic between centering and decentering forces. This paper contributes to discourse-cultural studies of organizations by explaining how narrative constructions of identities and interests are used to legitimate or resist change. Furthermore, this analysis elucidates the dialogical dynamics of organizational storytelling and thereby opens up new avenues for the cultural analysis of organizations.

Recovering Nussbaum's aristotelian roots

Abstract: The paper examines the relationship between Creating Capabilities and political liberalism. Originally founded on the basis of Aristotelian philosophy, the theory of ‘capabilities’ developed by Nussbaum turns to political liberalism in the mid 90’s. Throughout the article, the principles of both perspectives are depicted and contrasted, focusing on the capacity of affiliation, the concept of common good and the idea of freedom. Severine Deneulin argues that the current reality calls for the capabilities approach to be more rooted in a relational anthropology which the Aristotelian ethical tradition is more akin to. This line can be found in Nussbaum’s first approach to the theory of capabilities, where affiliation as an architectonic capability leads to the common good being the end of political action, and practical reason as an architectonic capability leads to reasoning ordered towards the achievement of the common good, to the detriment of individualism.

Las casas-torre bajomedievales. Análisis sistémico de un proceso de reestructuración espacial/territorial

[ES] La torre banderiza es uno de los más relevantes elementos del patrimonio construido vasco. Diseminados por toda la geografía de la comunidad autónoma, se pueden encontrar ejemplos representativos de este tipo arquitectónico, característico de una convulsa etapa que se prolongó algo más allá del período de crisis bajomedieval (siglos XIV-XVI). Este trabajo pretende por un lado formular una propuesta interpretativa sistémica e integradora que, partiendo del análisis estratigráfico de las fábricas, muestre el peso específico de esta construcción como elemento de gestión de los recursos del territorio. Pero sobre todo, en las siguientes líneas se hace una decidida apuesta por una forma de entender la investigación histórico-arqueológica.

Interpretación de información geométrica procedente de diversas fuentes para la reconstrucción virtual del Palacio de los Condestables, Casalarreina (La Rioja)

[ES] Este proyecto se ha realizado a partir de los datos del siguiente proyecto de documentación geométrica, desde donde pueden encontrarse enlaces adicionales a otros documentos relacionados:

Diferentes propuestas para la representación geométrica de edificios históricos

[ES]La documentación geométrica y la representación de edificios con el objetivo de servir como base a estudios históricos o arquitectónicos ofrece una variada oferta metodológica, cada una de ellas con unas características específicas. Antes de acometer una documentación, es necesario realizar un análisis previo de las necesidades finales del trabajo para elegir el método de documentación más conveniente.

Bizi toki hezkuntza eredu eraldatzailea?

[eus] Haurra kapitalismoaren subjektu antagoniko gisa definituz, kapitalismoa eta eskolaren arteko lotura du abiapuntu gisa lan honek. Kapitalismoaren birprodukzio eta metaketarako beharrezkoa den eskola bi ikuspegitik aztertzen da. Alde batetik, kapitalismoaren osaketa arkitektonikotik. Bestetik, kapitalismoaren balore, ohitura eta erlazionatzeko forma hegemonikoen transmisiotik. Bi ildo teoriko horietan oinarrituta, ikerketa lan honen objektu nagusia zera da, jendarte post-kapitalista eraikitzen ari den Bizi Toki proiektua. Horretarako metodologia kualitatiboa erabili dugu; elkarrizketa erdi egituratua, behaketa eta dokumentuen analisia hain zuzen ere.

Los primeros pasos en el escorzo de la figura humana. "Un análisis desde la geometría"

A través de un recorrido histórico centrado en el Renacimiento, se exponen las aportaciones más significativas de teóricos y artistas en la evolución del escorzo de la figura humana desde un punto de vista geométrico. Los artistas que con sus dibujos y escritos ayudaban a otros en el aprendizaje de la representación, se apresuraron a incluir el estudio del escorzo en sus tratados, buscando métodos que facilitaran su dibujo sobre cualquier soporte y en cualquier posición en el espacio. En este artículo se analizan y enlazan los trazados propuestos por los estudiosos de la geometría, con las obras de arte que reflejan importantes avances en este sentido. Soportes como el lienzo, el muro o la bóveda, presentan al pintor superficies diferentes de trabajo y en distintas posiciones en el espacio. La figura humana, protagonista en la escena, tendrá que adaptarse a ellos para ser contemplada desde unos espacios arquitectónicos cada vez más amplios y con más posibilidades. Fue necesario dominar la perspectiva en la pintura, y muy particularmente en la mural, para ofrecer composiciones cada día más ambiciosas y sorprendentes.

Estratégia de desenvolvimento sustentável do turismo na Ria de Aveiro

O turismo costeiro é a atividade turística mais relevante em Portugal. Este facto deve-se essencialmente à extensa e diversificada linha de costa e à crescente procura destas áreas pelas suas características paisagísticas, que levou a um forte desenvolvimento da atividade turísticas ao longo das últimas décadas. No entanto, o turismo que se tem vindo a praticar nas áreas costeiras portuguesas não responde às questões da sustentabilidade que cada vez mais estão na base da competitividade dos destinos turísticos. A garantia de sustentabilidade e a atração pelo novo e pelo diferente são fatores essenciais à capacidade de atração e competitividade de um determinado território. O sector turístico não foge à regra. Como tal é necessário inverter o modelo massificado que caracteriza o turismo costeiro e inovar nos métodos e nos modelos de desenvolvimento deste turismo A região da Ria de Aveiro, composta por 11 municípios, é uma região com fortes potencialidades turísticas, mas que se encontram subaproveitadas ou incorretamente geridas. Esta região apresenta um forte potencial para a prática de um turismo sustentável, valorizando os recursos naturais e culturais que possui. É uma região que tem como ponto de conexão a “Ria de Aveiro”, sendo uma das principais zonas húmidas do território português. Além da Ria, possui variadíssimos recursos turísticos tais como praias marítimas e fluviais, frentes ribeirinhas, marinhas de sal, florestas, áreas de interesse conservacionista, aldeias serranas, património arquitetónico, nomeadamente religioso, casas de interesse (arte nova, palheiros), museus, azulejaria, estações arqueológicas, entre outros. A proximidade entre o mar e a serra cria condições para a diversificação da paisagem, surgindo áreas tipicamente serranas que contrastam com a planície costeira e lagunar. Esta variedade de recursos constitui uma excelente oportunidade para os municípios que compõem a região, porque podem ajudar a definir e a sustentar estratégias de desenvolvimento turístico mais competitivas e associadas ao quadro de recursos naturais disponíveis. É necessário, assim, uma aposta nas singularidades e especificidades da região, oferecendo o que outros destinos não conseguem oferecer, através da exploração sustentável dos recursos endógenos. No entanto, é fundamental existir vontade política para que se possam promover e aplicar estratégias de turismo sustentável neste território. Pretende-se com este trabalho apresentar um modelo estratégico para o sector do turismo da região da Ria de Aveiro, através de uma abordagem diferenciadora, que promova e potencie, de forma integrada o quadro de recursos existentes. Esta abordagem baseia-se em quatro premissas que pretendem estruturar e orientar o modelo estratégico apresentado, sendo elas a identidade da região, a sustentabilidade e competitividade, a construção de redes e a coesão sociocultural.

Desenho da arcádia : a paisagem utópica:a sua permanência na prática da intervenção arquitetónica atual

Tese de doutoramento, Belas-Artes (Ciências da Arte), Universidade de Lisboa, Faculdade de Belas-Artes, 2014