Constructed Fashion: The Catwalk System as an Architectural Project

Teniendo en cuenta que no hay nada que se escape de la moda 1, y extendiendonos más allá de esta manida discusión sobre intersecciones formales, esta investigación propone la pasarela como un lugar real de mediación entre moda y arquitectura. Asumiendo esta condición, la pasarela encarna nuevos modos de producción apropiándose de su espacio y estructura, y convierténdose en una máquina capaz de generar múltiples y más bien infinitos significados. La moda es sin duda un proyecto creativo, que ha venido utilizando la pasarela como un marco para la reordenación de su narrativa visual, renovándose asi mismo como fenómeno social. Este proyecto de investigación plantea, que contrariamente las tipologías actuales de las pasarelas no nos facilitan la comprensión de una colección – que suele ser el objetivo principal. Presentan en cambio un entorno en el que se acoplan diferentes formatos visuales, -con varias capas-, conviéndolo en una compleja construcción y provocando nunerosas fricciones con el espacio-tiempo-acción durante el proceso de creación de otros territorios. Partiendo de la idea de la pasarela como un sistema, en el que sus numerosas variables pueden producir diversas combinaciones, esta investigación plantea la hipótesis por la cual un nuevo sistema de pasarela se estaría formando enteramente con capas de información. Este escenario nos conduciría a la inmersión final de la moda en los tejidos de la virtualidad. Si bien el debate sobre la relevancia de los desfiles de moda se ha vuelto más evidente hoy en día, esta investigación especula con la posibilidad del pensamiento arquitectónico y como este puede introducir metodologías de análisis en el marco de estos desfiles de moda, proponiendo una lectura de la pasarela como un sistema de procedimientos específicos inherente a los proyectos/procesos de la arquitectura. Este enfoque enlaza ambas prácticas en un territorio común donde el espacio, el diseño, el comportamiento, el movimiento, y los cuerpos son ordenados/organizados en la creación de estas nuevas posibilidades visuales, y donde las interacciones activan la generación de la novedad y los mensajes. PALABRAS CLAVES moda, sistema, virtual, información, arquitectura Considering that there is nothing left untouched by fashion2, and going beyond the already exhausted discussion about formal intersections, this research introduces the catwalk as the real arena of mediation between fashion and architecture. By assuming this condition, the catwalk embodies new modes of production that appropriates its space and turns it into a machine for generating multiple if not infinite meanings. Fashion, as a creative project, has utilized the catwalk as a frame for rearranging its visual narrative and renewing itself as social phenomena. This research disputes, however, that the current typologies of catwalks do not facilitate the understanding of the collection – as its primary goal - but, instead, present an environment composed of multi-layered visual formats, becoming a complex construct that collides space-time-action in the creation of other territories. Departing from the analysis of the catwalk as a system and how its many variables can produce diverse combinations, this research presents the hypothesis that a new system is being formed entirely built out of information. Such scenario indicates fashion´s final immersion into the fabrics of virtuality. While the discussion about the relevance of fashion shows has become more evident today, this research serves as an introductory speculation on how architectural thinking can introduce methodologies of analysis within the framework of the fashion shows, by proposing a reading of the catwalk as a system through specific procedures that are inherent to architectural projects. Such approach intertwines both practices into a common territory where space, design, behaviour, movement, and bodies are organized for the creation of visual possibilities, and where interactions are triggered in the making of novelty and messages. KEYWORDS fashion, system, virtual, information, architectural

Should governments use a declining discount rate in project analysis?

At a workshop held at Resources for the Future in September 2011, twelve of the authors were asked by the US Environmental Protection Agency (EPA) to provide advice on the principles to be used in discounting the benefits and costs of projects that affect future generations. Maureen L. Cropper chaired the workshop. Much of the discussion in this article is based on the authors' recommendations and advice presented at the workshop. © The Author 2014.

An entropy-based financial decision support system (e-FDSS) for project analysis in construction SMEs

Uncertainty contributes a major part in the accuracy of a decision-making process while its inconsistency is always difficult to be solved by existing decision-making tools. Entropy has been proved to be useful to evaluate the inconsistency of uncertainty among different respondents. The study demonstrates an entropy-based financial decision support system called e-FDSS. This integrated system provides decision support to evaluate attributes (funding options and multiple risks) available in projects. Fuzzy logic theory is included in the system to deal with the qualitative aspect of these options and risks. An adaptive genetic algorithm (AGA) is also employed to solve the decision algorithm in the system in order to provide optimal and consistent rates to these attributes. Seven simplified and parallel projects from a Hong Kong construction small and medium enterprise (SME) were assessed to evaluate the system. The result shows that the system calculates risk adjusted discount rates (RADR) of projects in an objective way. These rates discount project cash flow impartially. Inconsistency of uncertainty is also successfully evaluated by the use of the entropy method. Finally, the system identifies the favourable funding options that are managed by a scheme called SME Loan Guarantee Scheme (SGS). Based on these results, resource allocation could then be optimized and the best time to start a new project could also be identified throughout the overall project life cycle.

Kansas City Alcohol Safety Action Project. Analysis of DUI cases handled by Kansas City Municipal Court during 1971.

Kansas City, Mo.

Are you ready for a tender project? – Analysis of organisational project management maturity in the Austrian-Hungarian border region

Are you ready for a tender project? – Analysis of organisational project management maturity in the Austrian- Hungarian border region. Since the 1990s the European Union has paid more and more attention to subsidising cross-border development. It is understandable that different funding from proposal sources is particularly important for the border area, especially to those of utmost importance that support co-operation and rural development. Therefore, they could become a driving force for development. The authors’ research analyses the organisational project management maturity of the projects implemented in the frame of the Austria-Hungary Cross-border Cooperation Programme 2007-2013 (AT-HU). Analysing this kind of organisation is an important issue, since the new call for proposals are open in 2016 and the results of this study may provide a self-evaluation opportunity to organisations that need to know if they are ready or mature enough for a new tender project. The aim of this study was twofold. First of all, those indicators that could be used to analyse the project management maturity of implementing organisations in the AT-HU programme were identified. Based on the empirical research these are the project experience accumulated by the organisation, the internal processes operating at the institution and the professional background. Secondly, factors that can affect this project management maturity were explored and we determined five influencing area: the organisational structure, culture, project managers motivation and the typical and important competences.

Tensions tectoniques du projet d'architecture : études comparatives de concours canadiens et brésiliens (1967-2005)

Cette thèse entend contribuer à la compréhension du processus de conception architecturale par le biais du concept de tectonique, notion dont l’historicité confirme une certaine diversité de significations, mais qui suscite une réflexion fondamentale sur le rapport entre l’esthétique architecturale et les moyens constructifs. La connaissance technique de la construction, constituée principalement au 18ème siècle, permettra une nouvelle réflexion sur le rapport entre l’esthétique architecturale et les moyens constructifs. Au 19ème siècle, moment de l’apparition du concept de « tectonique » dans le contexte du débat sur la notion de style, l’indéniable contribution de l’architecte et théoricien Gottfried Semper reconnaît la complexité matérielle de l’édifice. La reprise du terme au 20ème siècle par l’historien et théoricien Kenneth Frampton va quant à elle déplacer le sens de la tectonique vers l’idée d’un « potentiel d’expression constructive ». Ces deux auteurs représentent deux grandes approches tectoniques convergeant sur la nécessité, pour toute théorie de l’architecture, d’encourager une réflexion critique de la construction. Cette thèse se développe en deux parties, l’une retraçant l’histoire et les enjeux de la tectonique, l’autre, de nature plus concrète, cherchant à tester l’actualité du concept à travers une série d’analyses tectoniques de projets modernes et contemporains. À la croisée de deux contextes géographiques différents, le Canada et le Brésil, le corpus de projets de concours que nous avons constitué considère la tectonique comme un phénomène transculturel. Nous formulons l’hypothèse d’une « tectonique du projet », c’est-à-dire d’un espace théorique dans lequel les questions relatives au bâtiment s’élaborent dans des « tensions » dialectiques. L’actualité des catégories semperiennes, dans lesquelles les différents « éléments » du bâtiment représentent différentes techniques de construction, est revisitée à partir de l’étude des projets de Patkau Architects (1986) et de MMBB Arquitetos (1990). Une tension entre les expressions symbolique et formelle issues du matériau brut est plus explicite dans l’étude des projets de Ramoisy Tremblay architectes (2002) et de Brasil Arquitetura (2005). La théorie de la transformation de matériau (Stoffwechseltheorie) de Semper est réexaminée parallèlement dans les projets d’Arthur Erickson et Geoffrey Massey (1967) et de Paulo Mendes da Rocha (1969). Dans l’ensemble de tensions tectoniques présentes tout au long de la conception, nous avons retenu plus particulièrement : le contact avec le sol, la recherche d’une homogénéité constructive, ou son opposé, la recherche d’une variété matérielle et, finalement la tension entre la dimension représentationnelle et la dimension technique de l’architecture. La modélisation du concept de tectonique, par un ensemble de tensions auxquelles les concepteurs doivent s’adresser en phase de projet, confirme que des questions en apparence simplement « techniques » concernent en fait tout autant le génie de l’invention que la connaissance historique des idées architecturales.

Collective equipments of power: The road and the city

A year ago, I became aware of the historical existence of the group CERFI— Le centre d’etudes, de recherches, et de formation institutionelles, or The Study Center for Institutional Research and Formation. CERFI emerged in 1967 under the hand of Lacanian psychiatrist and Trotskyite activist Félix Guattari, whose antonymous journal Recherches chronicled the group’s subversive experiences, experiments, and government-sponsored urban projects. It was a singularly bizarre meeting of the French bureaucracy with militant activist groups, the French intelligentsia, and architectural and planning practitioners at the close of the ‘60s. Nevertheless, CERFI’s analysis of the problems of society was undertaken precisely from the perspective of the state, and the Institute acknowledged a “deep complicity between the intellectual and statesman ... because the first critics of the State, are officials themselves!”1 CERFI developed out of FGERI (The Federation of Groups for Institutional Study and Research), started by Guattari two years earlier. While FGERI was created for the analysis of mental institutions stemming from Guattari’s work at La Borde, an experimental psychiatric clinic, CERFI marks the group’s shift toward urbanism—to the interrogation of the city itself. Not only a platform for radical debate on architecture and the city, CERFI was a direct agent in the development of urban planning schemata for new towns in France. 2 CERFI’s founding members were Guattari, the economist and urban theorist François Fourquet, feminist philosopher Liane Mozère, and urban planner and editor of Multitides Anne Querrien—Guattari’s close friend and collaborator. The architects Antoine Grumback, Alain Fabre, Macary, and Janine Joutel were also members, as well as urbanists Bruno Fortier, Rainier Hoddé, and Christian de Portzamparc. 3 CERFI was the quintessential social project of post-‘68 French urbanism. Located on the Far Left and openly opposed to the Communist Party, this Trotskyist cooperative was able to achieve what other institutions, according to Fourquet, with their “customary devices—the politburo, central committee, and the basic cells—had failed to do.”4 The decentralized institute recognized that any formal integration of the group was to “sign its own death warrant; so it embraced a skein of directors, entangled, forming knots, liquidating all at once, and spinning in an unknown direction, stopping short and returning back to another node.” Allergic to the very idea of “party,” CERFI was a creative project of free, hybrid-aesthetic blocs talking and acting together, whose goal was none other than the “transformation of the libidinal economy of the militant revolutionary.” The group believed that by recognizing and affirming a “group unconscious,” as well as their individual unconscious desires, they would be able to avoid the political stalemates and splinter groups of the traditional Left. CERFI thus situated itself “on the side of psychosis”—its confessed goal was to serve rather than repress the utter madness of the urban malaise, because it was only from this mad perspective on the ground that a properly social discourse on the city could be forged.

An investigation of innovation and knowledge creation in virtual worlds

The Internet and World Wide Web have had, and continue to have, an incredible impact on our civilization. These technologies have radically influenced the way that society is organised and the manner in which people around the world communicate and interact. The structure and function of individual, social, organisational, economic and political life begin to resemble the digital network architectures upon which they are increasingly reliant. It is increasingly difficult to imagine how our ‘offline’ world would look or function without the ‘online’ world; it is becoming less meaningful to distinguish between the ‘actual’ and the ‘virtual’. Thus, the major architectural project of the twenty-first century is to “imagine, build, and enhance an interactive and ever changing cyberspace” (Lévy, 1997, p. 10). Virtual worlds are at the forefront of this evolving digital landscape. Virtual worlds have “critical implications for business, education, social sciences, and our society at large” (Messinger et al., 2009, p. 204). This study focuses on the possibilities of virtual worlds in terms of communication, collaboration, innovation and creativity. The concept of knowledge creation is at the core of this research. The study shows that scholars increasingly recognise that knowledge creation, as a socially enacted process, goes to the very heart of innovation. However, efforts to build upon these insights have struggled to escape the influence of the information processing paradigm of old and have failed to move beyond the persistent but problematic conceptualisation of knowledge creation in terms of tacit and explicit knowledge. Based on these insights, the study leverages extant research to develop the conceptual apparatus necessary to carry out an investigation of innovation and knowledge creation in virtual worlds. The study derives and articulates a set of definitions (of virtual worlds, innovation, knowledge and knowledge creation) to guide research. The study also leverages a number of extant theories in order to develop a preliminary framework to model knowledge creation in virtual worlds. Using a combination of participant observation and six case studies of innovative educational projects in Second Life, the study yields a range of insights into the process of knowledge creation in virtual worlds and into the factors that affect it. The study’s contributions to theory are expressed as a series of propositions and findings and are represented as a revised and empirically grounded theoretical framework of knowledge creation in virtual worlds. These findings highlight the importance of prior related knowledge and intrinsic motivation in terms of shaping and stimulating knowledge creation in virtual worlds. At the same time, they highlight the importance of meta-knowledge (knowledge about knowledge) in terms of guiding the knowledge creation process whilst revealing the diversity of behavioural approaches actually used to create knowledge in virtual worlds and. This theoretical framework is itself one of the chief contributions of the study and the analysis explores how it can be used to guide further research in virtual worlds and on knowledge creation. The study’s contributions to practice are presented as actionable guide to simulate knowledge creation in virtual worlds. This guide utilises a theoretically based classification of four knowledge-creator archetypes (the sage, the lore master, the artisan, and the apprentice) and derives an actionable set of behavioural prescriptions for each archetype. The study concludes with a discussion of the study’s implications in terms of future research.

Sensing Spaces:A Body-oriented Architectural Design Education

The contemporary dominance of visuality has turned our understanding of space into a mode of unidirectional experience that externalizes other sensual capacities of the body while perceiving the built environment. This affects not only architectural practice but also architectural education when an introduction to the concept of space is often challenging, especially for the students who have limited spatial and sensual training. Considering that an architectural work is not perceived as a series of retinal pictures but as a repeated multi-sensory experience, the problem definitions in the design studio need to be disengaged from the dominance of a ‘focused vision’ and be re-constructed in a holistic manner. A method to address this approach is to enable the students to refer to their own sensual experiences of the built environment as a part of their design processes. This paper focuses on a particular approach to the second year architectural design teaching which has been followed in the Department of Architecture at Izmir University of Economics for the last three years. The very first architectural project of the studio and the program, entitled ‘Sensing Spaces’, is conducted as a multi-staged design process including ‘sense games, analyses of organs and their interpretations into space’. The objectives of this four-week project are to explore the sense of space through the design of a three-dimensional assembly, to create an awareness of the significance of the senses in the design process and to experiment with re-interpreted forms of bodily parts. Hence, the students are encouraged to explore architectural space through their ‘tactile, olfactory, auditory, gustative and visual stimuli’. In this paper, based on a series of examples, architectural space is examined beyond its boundaries of structure, form and function, and spatial design is considered as an activity of re-constructing the built environment through the awareness of bodily senses.

Architectural drawing of Morlan Residence Hall, Chapman College, Orange, California.

Architectural drawing of Morlan Residence Hall, married student apartments and lounge, Chapman College, Orange, California. John Galbraith & Associates, Architectural Project Development. Dedicated November 20, 1963 and named in honor of Dr. Halford J. Morlan and Perwyn Bohrer Morlan. An addition was dedicated December 1, 1965.

ARX, model thinking: taxonomy and operativity of an architectural process

The purpose of this work was to establish a taxonomy of hand made model construction as a platform for an approach to project an operative method in architecture. It was therefore studied and catalogued in a systematic approach a broad model production in the work of ARX. A wide range of families and sub-families of models were found, with different purposes according to each phase of development, from searching steps for a new possible configuration to detailed refined decisions. This working method revealed as most relevant characteristics, the grounds for a potential personal reflection and open discussion on project method, its flexibility on space modeling, an accuracy on the representation of real construction situations and its constant and stimulating opening to new suggestions. This research helped on a meta-reflection about this method, having been useful on creating a consciousness of processes that pretend to become an autonomous language, knowledge that might become useful to those who pretend to implement a haptic modus operandi in the work of an architectural project.

Do modelo geométrico ao modelo físico: o tridimensional na educação do arquiteto e urbanista

In the teaching practice of architecture and urbanism in Brazil, educational legislation views modeling laboratories and workshops as an indispensable component of the infrastructure required for the good functioning of any architectural course of study. Although the development of information technology at the international level has created new possibilities for digital production of architectural models, research in this field being underway since the early 1990s, it is only from 2007 onwards that such technologies started to be incorporated into the teaching activity of architecture and urbanism in Brazil, through the pioneering experience at LAPAC/FEC/UNICAMP. It is therefore a recent experiment whose challenges can be highlighted through the following examples: (i) The implementation of digital prototyping laboratories in undergraduate courses of architecture and urbanism is still rare in Brazil; (ii) As a new developing field with few references and application to undergraduate programs, it is hard to define methodological procedures suitable for the pedagogical curricula already implemented or which have already been consolidated over the years; (iii) The new digital ways for producing tridimensional models are marked with specificities which make it difficult to fit them within the existing structures of model laboratories and workshops. Considering the above, the present thesis discusses the tridimensional model as a tool which may contribute to the development of students skills in perceiving, understanding and representing tridimensional space. Analysis is made of the relation between different forms of models and the teaching of architectural project, with emphasis on the design process. Starting from the conceptualization of the word model as it is used in architecture and urbanism, an attempt is made to identify types of tridimensional models used in the process of project conception, both through the traditional, manual way of model construction as well as through the digital ones. There is also an explanation on how new technologies for digital production of models through prototyping are being introduced in undergraduate academic programs of architecture and urbanism in Brazil, as well as a review of recent academic publications in this area. Based on the paradigm of reflective practice in teaching as designed by Schön (2000), the experiment applied in the research was undertaken in the integrated workshop courses of architectural project in the undergraduate program of architecture and urbanism at Universidade Federal do Rio Grande do Norte. Along the experiment, physical modeling, geometric modeling and digital prototyping are used in distinct moments of the design process with the purpose of observing the suitability of each model to the project s phases. The procedures used in the experiments are very close to the Action Research methodology in which the main purpose is the production of theoretical knowledge by improving the practice. The process was repeated during three consecutive semesters and reflection on the results which were achieved in each cycle helped enhancing the next one. As a result, a methodological procedure is proposed which consists of the definition of the Tridimensional Model as the integrating element for the contents studied in a specific academic period or semester. The teaching of Architectural Project as it is developed along the fifth academic period of the Architecture and Urbanism undergraduate program of UFRN is taken as a reference

Interface entre arquitetura bioclimática e decisões projetuais

This research has as its object study focus bioclimatic in architecture and its conection with projects decisions, on what regards to environmental comfort for single-family dwelling. From the analysis of five architectural projects inserted in Natal/RN, warm-moist weather, this research gather informations regarding architectural features guided by shape and space arrengement, which embody important elements for the project design development. Computer simulations assisted as foundation to verify the efficiency grade for these projects strategies from shading analysis. Related strategies for the demands of natural ventilation circulation and thermal mass for refrigeration were analysed as well. Results show that there is an hierarchizing of priorities for the decisions made when it comes to shape and space disposition variables, as well as the way these variables will consider the bioclimatic demands. The analysis, even, show that there is no single way to respond to specific bioclimatic demands, as it points out the value of examination of the projectual solutions throughtout the conception process, in order to achieve an efficient project performance for the envimonment comfort