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UOU Scientific Journal
Number of Followers: 7  

  This is an Open Access Journal Open Access journal
ISSN (Online) 2697-1518
Published by Universidad de Alicante Homepage  [9 journals]
  • Learning from Soto Aqua

    • Authors: Javier Sánchez Merina
      Abstract: Letter from the Director
      PubDate: 2022-06-26
  • (Re)Presenting Representation

    • Authors: Ozan Avci
      Abstract: EditorialRepresentation is a broad umbrella that covers different disciplines such as design, the arts, architecture, cinema, literature, politics, economics, semiotics, etc… We may even say that representation is in every act of human beings whenever they think about something.This fundamental role of representation makes it very critical in the design process, thus the design process is based on the dialogue between the inner and outer representations. In this third issue of UOU Scientific Journal, we would like to focus on the nature of representation, its own ontological aspects, materiality, immateriality, and its crucial role in the design process rather than its metaphorical side related with politics and semiotics.Hans-Georg Gadamer points out that “representation does not imply that something merely stands in for something else as if it were a replacement or substitute that enjoys a less authentic, more indirect kind of existence. On the contrary, what is represented is itself present in the only way available to it.1” In this respect, representation can be the subject of research. Here two conceptions may occur: representation of the world and the world of representation. The former proposes the origins of representation for the agenda, such as the ways of representing the world during the Medieval, Renaissance, Baroque, Modern or contemporary periods. The latter highlights the ontology of representation and its emancipatory, participatory, imaginative, speculative, predictive, and interpretive characters.“The tension between the productive and the creative reality of architecture may be better understood if we examine more closely the nature and role of representation. In a conventional understanding, representation appears to be a secondary and derivative issue, associated closely with the role of the representational arts. However, a more careful consideration reveals, very often to our surprise, how critical and universal the problem of representation really is. What we normally refer to as reality, believing that it is something fixed and absolute, is always a result of our ability to experience, visualize, and articulate—in other words, to represent so as to participate in the world. Countering representation’s participatory function is its tendency toward emancipation and autonomy. 
      PubDate: 2022-06-26
  • Narrative Processes in Architectural Design

    • Authors: Gürbey Hiz, Didem Sağlam, Beril Sezen, Tutku Sevinç
      Abstract: Keywords: representation, narrative, subjectivity, temporality, spatiality, digital tools, analog toolsThis article focuses on the aims and content of the elective course entitled Narrative Processes in Architectural Design, which we instruct as four lecturers in architecture departments of various universities. Our observations and thoughts on the need for such a course in the field of architectural design are based on contemporary critiques of the education and practice of architectural design. This critical view questions the role of representational practices in architectural design and their uses. The Cartesian way of thinking distinguished the positions of the ‘thinker (designer) and the builder’. This paradigm caused architects to lose the position of being the "builder" and eventually gain the status of "describer of what to do to the builder", and therefore the importance of representation tools increased. Since the 15th century, individuality and subjectivity have advanced as intellectual thoughts, and positivism took the place of sacredness. Within these ideological perspectives, we have been engaging with the reality in which the rational, universal, measurable and observable reached hegemonic power. These ideologies also suppress immeasurable feelings and experiences. One of the most important results of this paradigm in architecture is that the discipline has turned into an object-oriented thought and practice. An object-oriented practice prefers to deal with measurable dimensions, geometries, materials, rather than immeasurable phenomena such as feelings, experiences, and atmosphere.Our critical view for the role of representation in architectural design and our course formed around this framework. The course aims at reintegrating everyday narratives into architectural practices through representation. Approaches of the course to this critique can be described on three main themes; subjectivity, temporality and spatiality. The course is designed in modules and each module relates to these three themes in distinct ways.Despite the ambiguity of subjective experiences and feelings, the course aims to reintegrate them into thinking and production. In several modules of the course, we look at space not as an object but as phenomena that includes events. This approach is essential in terms of temporality, which is another main theme of the course. Time-space can only be considered as an experience. We discuss temporal constructions in two ways within the scope of the course; fragmented and linear.The third theme of the course is spatiality. While addressing the theme of spatiality, two main approaches are emphasized; tabula rasa and articulation to the existing. Throughout the history of architecture, on the one hand, people experienced the destructive imaginations of the futurists and the desire of the modernists for building cities from scratch, and on the other hand, other approaches were suggesting to discover and articulate the memories and traces of the city. Both of these discussions offer distinct possibilities for the discipline of architecture. The course brings daily narratives back to the agenda of architecture through representational approaches to these three themes. Therefore, the course offers subjective, temporal and spatial narrative productions.
      PubDate: 2022-06-26
  • Visualizing Complexity in Extreme Architecture

    • Authors: Mauricio Morales-Beltran, Kaan Çetin, Berca Kavani
      Abstract: Architecture deals with the design of spaces for human activities, providing comfort to its occupants, within a myriad of environmental conditions. When facing extreme environmental conditions, architecture must be responsive and turn these adverse conditions into a comfort space for human conditions. The EA Unit at the Department of Architecture, in ABC University, is a conceptual umbrella under which students are invited to develop architectural projects meeting the technical demands of designing buildings for extreme conditions. While confronted with the evidence of the nature of such extreme demands, students are requested to develop an extreme scenario, which is indeed the storyline where all design elements are rooted into. In this sense, a visual narrative is the key instrument to code the projects’ syntax and to explain the logic by which each particular project can be understood. However, the unit demands the use of rather technical arguments to sustain a project responsive to extreme conditions and thus, close to be developed through a scientific method. Then, how visualizations can express individual approaches to the otherwise obvious solution to a technical problem' How visualizations maintain uniqueness while expressing the project's response to the technical demands' To answer both questions, we must embrace the inherent complexity of extreme environments. The use of visualizations allows students to deal with such complexity from their own perspective, expressed by the language of those representations. In this essay, the authors attempt to provide answers to these questions by critically revising two projects developed in the unit.
      PubDate: 2022-06-26
  • A Method Proposal For Mapping the Patterns of Originality in Design:
           Raymond Williams (RW) and the Keywords

    • Authors: Elçin Kara Vatansever, Nurbin Paker Kahvecioğlu
      Abstract: Originality is a relatively modern and controversial concept in design. Although it has been widely used in English since the end of the 18th century, its root 'origin' is an old word that has been in the language since the 14th century. Etymologically deriving from the root word ‘origin, originem’ (lt.) -source, rise, birth-, origin has an intrinsic retrospective meaning. ‘Original,’ on the other hand, keeps this retrospective meaning of source but also takes on additional definitions as ‘new, unique and authentic’ over time. Deriving from this secondary meaning of the original, the concept of ‘originality’  has described an idealized innovation and source of artistic expression. It has been theorized to signify value in creative industries. The fact that the word original can be attributed with different and opposing meanings; changes the way we deal with originality and related concepts in design, art, and aesthetics, making them open to discussion. Even though the definitions within the framework of the concept of originality take place in different discoursive areas, they create changing conditions and transform accordingly. Traces of these conditions and transformations show themselves on the meanings and definitions of words and form the hidden patterns of ‘originality’. It is a challenge to visually represent these changes that occur in language and are reflected in our ways of thinking.This paper proposes a method to analyze and represent the evolving and changing definitions of all these concepts and the dynamic conditions that create them by bringing them together contextually, semantically, and interdisciplinary. Unlike traditional linguistic tools of defining and examining words and concepts, this study encourages the use of Raymond Williams’ (1985) inspiring work ‘Keywords: A Vocabulary of Culture and Society’ to map all the interdisciplinary relations of the keywords into a network, to visualize the changes in meaning, to selectively bring all the data around the keyword ‘originality’ and to reveal the patterns of the concepts of and around originality. Keywords: Originality, Raymond Williams, Keywords, Cultural Studies, Data Visualization, Textual Representation
      PubDate: 2022-06-26
  • Re-visiting representations of ‘nature’ and city through the
           Long Walls zone

    • Authors: Aspassia Kouzoupi
      Abstract: The Long Walls of Classical Antiquity, linking Athens and Piraeus, illustrate a significant shift in the representation of inside and outside. The implied antithesis ‘inside vs outside’ is investigated in relation to concepts of ‘nature’ and their relation to ‘city’. Can we read the Long Walls zone in relation to the Aristotelian view of ‘polity as a natural construct’' The ‘infrastructural palimpsest’ is arguably the structure which represents the idiosyncrasy of the Long Walls zone today. The Long Walls zone during classical antiquity and since neoteric times to present times, has been an elongated space representing mobility. Historically, the area’s character has been under noticeable changes: from quasi-urban in antiquity, it changed to rural, and then became Athens-Piraeus’ historical industrial backbone during the 19th and 20th century. Today it could be characterized as part of the Athens-Piraeus’ rust belt. Understanding the area as a palimpsest could challenge the actual tendency to massive homogenous urban sprawl. Palimpsest is revealed as an intrinsic value of the Long Walls zone’s ground/soil, structuring the presence of historical traces.  These testify to the articulation between urban and rural landscape, along an extended timescale. The segmentation of landscape by infrastructure emerges as another facet of the infrastructural palimpsest, relevant to the di-pole ‘rural’ vs ‘urban’. The discussion ultimately focuses on the representation of spatiotemporal traces in a specific area among the Long Walls zone: investigated through mapping within an academic project, the exquisitely rich palimpsest of infrastructural layers and their embedded landscape traces emerges. Thus, the Long Walls zone cannot be characterized as ‘urban periphery’ but as a zone of historic complexity, comparable to that of a historic urban matrix.
      PubDate: 2022-06-26
  • The Architectural Representation through Mapping Controversies: Local
           Condition Analysis

    • Authors: Arelly Alvarez Juarez, Claudia Itzel Montalban Osorio
      Abstract: AbstractA big part of the environment built around us is practically the same wherever you go. Architecture pretends to tell people how to live through standardized design models, thus believing in some sort of design determinism, however, everyday life is very different from that, it is unstable and ever- changing. Consequently, it is necessary to have representation tools that allow us to envision this complexity.The aim of this article is to reflect on architectural representation through Mapping Controversies in order to explore different architectural alternatives in an integral and dynamic way that dissolves the boundaries between conventional areas of knowledge. This transdisciplinary approach moves beyond the traditional relations that have been classified as dichotomies in architecture (qualitative/quantitative, visible/ invisible, nature/culture, objective/subjective, etc.) and which, considered in an isolated manner, limit the possibility of emerging opportunities that might result from their collaboration.In order to show the possibilities of this representation tool, a particular case study is presented: The Earthquake Housing Reconstruction in the Coast of Oaxaca which took place in the south of Mexico, in the intersection of the Guerrero and Oaxaca states (see fig.5). From this perspective, the making of an integral analysis of the local condition on the housing reconstruction in the region is proposed in order to expose the significant emerging qualities (human or non-human) that arise from this mapping towards future reconstruction projects in this seismic region. Specifically, the elaboration of a Map of the Local Condition is proposed as part of the research stage in the development of architectural projects. This open, free and alternative mapping according to each case in question is an opportunity for humanized space from architectural representation.
      PubDate: 2022-06-26
  • A Critical Reading on Spatial Narrative in Abstract Comics

    • Authors: Havva Nur Yetkin, Pelin Dursun Çebi
      Abstract: This study is a critical reading on the spatial narrative of abstract comics.The form of representation, which is defined as an abstract comic, is a narrative series that creates a reaction in the audience with the forms and techniques it uses.The aim of the study, considering the communication between the spectator and the representation; is to emphasize the potential that, emancipated the spectator and make the representational form open to sensations.In order for the spectator to communicate with the representation, the represented space must have traces that will make the subject's experience and temporality visible.The situation that is thought to be missing in traditional architectural representation productions; The experience that the space offers to the subject does not have a counterpart in representation.The act of "experiencing" is subject to time; Therefore, the visibility of temporality in representation will open up gaps that will include the spectator in the representation. comics method, which makes the concept of time legible with the possibilities of representation and has the potential as a communication tool; It has been evaluated as a form of representation that will make the spatial experience visible.The fact that the abstract comic book representations examined are 'abstract' transforms the form of representation into a field of experience for the spectator, providing a setting for sensations. On the other hand, the readability of time provides a participatory communication environment in which the spectator imagines what happens between the panels (singular units of sequential productions) and what might happen outside the panels.This study examines the communication that spatial narrative establishes with its audience through productions defined as abstract sequential art. It is valuable in that it underlines the visibility of experience in a representation that emerges with the concepts of time and sensation, and opens the topic of temporality in architectural representation to discussion.
      Key words: architectural representation, abstract comic, spatial experience, time and space, the emancipated spectator

      PubDate: 2022-06-26
  • The Clock(s) of A Drawing and the Hermetic Time-Reader/Teller: Dreaming of
           Drawingdials and the Enigmatic Hour(s) of A Drawing

    • Authors: E. Bahar Avanoglu
      Abstract: The alluring thought of experiencing more than one sunset in a single day does not only refer to the curious wonders of the inconsistency of our unstable, mobile spatio-temporal situatedness within the universe, but perhaps also to the curious apparentness of the non-linearity of the perception of time. We encounter such a profound occasion in Roger Ackling’s Five Sunsets in One Hour (1978):[i] A gentle walk on a hill triggers the horizon to accompany and move along with the walker, thus multiplying the sunset that could be experienced in a single day. While the walker doubles herself/himself as the ‘time-reader’ and marks each sunset on the paper manifesting the plurality of the sunset, her/his relationally changing situatedness paradoxically renders each sunset ‘unique’.The historical trajectories of the act of ‘reading the time’ passes beyond looking at a ticking clock, thus also beyond a purely mathematical calculation and mechanical construct. It is also not a mere coordinational matter set between the world and the universe, but it also includes ‘us’ as ‘the hermetic reader/teller/writer’ as an inherent part of it. Sundials and astrolabes manifest the existence of this ‘hermetic time-reader’ primarily as an engraved ‘drawing’ on earth, paper or portable plates. These ‘time-telling drawing’(instrument)s are in fact the result of an embodied reading of the universe, which in turn become ‘projective’ reading machines; in Daniel Libeskind’s terms, one of the three lessons of architecture.[ii] Constantly compelling interpretive narratives from the ‘reader’, these sundials could be considered in a broader framework as ‘divination’ machines, calling for variegated horoscopic narratives.Does this contemplation not seduce us secretly to think of the possibility of ‘a clock of a drawing’' In order to explore the curious spatio-temporal, embodied practice of divination of a drawing through the act of drawing, and also in order to unfold ‘us’ - ‘the drawer’ as the integral ‘hermetic reader’ in the drawing, we decided to work on this question speculatively in our elective course in the fall semester 2021-2022. Our project of ‘the clock(s) of a drawing’ started firstly as an embodied reading of a selected drawing through variegated projective methods. In due course, the projective cast of drawing demonstrated itself not as a static construct, but as a ritualistic and poetic act – as drawingdials. These projective drawingdials, with the ‘hermetic drawers’ as a part of them, are constantly re-read and re-written, almost transforming themselves into enigmatic drawing-instruments.Is it not possible to speak of the enigmatic hours of a drawing' Perhaps, yes, it may be possible: the hours of a drawing are crystallized within the projective and embodied languages and constructions of drawing itself, as we can see quite poetically in John Hejduk’s The Collapse of Time (1984).[iii]
      [i] https://www.tate.org.uk/art/artworks/ackling-five-sunsets-in-one-hour-t03562[ii] https://libeskind.com/work/cranbrook-machines/[iii] Hejduk, J., The Collapse of Time: Diary Constructions, AA Publications, 1987.
      PubDate: 2022-06-26
  • Drawing Spatial Movement

    • Authors: Sarah Stevens
      Abstract: In a world increasingly understood in terms of process and flow the only constant could be said to be movement. Yet our modes of designing and drawing architecture can sometimes seem almost resolutely static. A desire to encase our movement within design is nothing new however. Esenstein’s analysis of the acropolis reveals its presence in the 5th century, and the landscape gardens of the picturesque were designed to unfurl in advance of their promenading viewers. But if we are to engage our architecture in our unassailable entwinement with a world made of process we need new tools.  We think through our drawings, but conventional techniques do not readily open up or enter into conversation around movement, process or our place in time. The vital role our drawing conventions play as exacting translators of design to construction demand precision communication that holds no place for ambiguity or change. Yet as incubators for speculative futures this language of representation offers little space or scope to engage time. Might we therefore identify new forms of canvas, new languages, within which to incubate design ambitions; complementary drawing techniques within which we might think through in the language of our world, movement'  The Moving Through masters course at the Bergen School of Architecture began to ask these questions, opening up an exploration of what it means to move through space, unpicking the implications for design. Over the short course highly speculative experimental work began to pose potential steps forwards.  
      PubDate: 2022-06-26
  • Visionary Representation as an Anomaly: Indeterminate Trajectories in
           Early Republican Turkey’s Art and Architecture Environment

    • Authors: Emirhan Kurtuluş
      Abstract: This study aims to discuss the Turkish context of the critical-creative visionary/avant-garde attitude, which is handled through various approaches, productions, actors and discourses in the literature of art and architecture theory. It explores through which local representations the idea of the future and the new, possible intercultural interaction, can be read. Within this extensive proposition, "indeterminate trajectories" built on a set of assumptions/intuitions rather than a top-down approach can make potential relationships and interactions visible regarding the concepts and context at the center of the discussion; It is suggested that the definition of the visionary at a general dimension, together with the role of representation and criticism, can open up some discussions regarding the Turkish context in particular. The content and method of the research are constructed as a whole, and the points taken by the themes shaped by the predicted interactions and associations are mapped. This text has been constructed as a part of a large research/“area of concentration”, and within the context in question, "avant-garde", another concept which the concept of "visionary" interacts, is considered as the scope of this study. In this context, together with the avant-garde theme, the Early Republican Period, the contemporaneous of the historical avant-garde in Europe, defines a temporal trajectory for the discussion, while the booklet Güzelleşen İstanbul (Beautifying istanbul) presents a visual-imaginary trajectory.
      PubDate: 2022-06-26
  • Mapping Un-Captivity

    • Authors: Ioannis Orlis
      Abstract: The maps presented here are part of my student project titled “Instructions for un-captivity” (2016-2017) completed on the basis of the first-year studio “Introduction to Architecture 1” at the University of Thessaly. For this specific exercise of mapping, each student had to choose a subject from the city of Volos and an object useful to the subject in order to observe and investigate them, assuming the role of “a detective, an archeologist, or an urban anthropologist” (Lycourioti,2012). The aim of the research would be the production of five maps from each student, each map with a specified title presented below. These maps would allow us a view to the city as “a net of spaces intertwined around the production of the object and the habits regarding its use” (Lycourioti,2012).This exercise became a great stimulus for an original way to become familiar with the -unknown to me back then- city of Volos and its people. Also, it became a way to re-discover the map as a representation tool which can render a variety of notions, data and stories behind them -spatial, historical, poetic- escaping the logic of photographical objectivity and universality of today’s digital maps such as those of Google. Using the maps presented in this paper, we will explore the network linking a man, a cage, some chickens, a city and a utopia.
      PubDate: 2022-06-26
  • Machinery Landscapes

    • Authors: Ozan Avci
      Abstract: In late 19th and early 20th centuries modernist architects discussed the “machine aesthetic” in which form is to follow function. “This belief in “functional form,” in a “machine aesthetic,” betrays the extent to which modernism misunderstands its own “aesthetic” uses of technology. Indeed, modernist aesthetics are very often based on “the myth of functional form.” Taking technology and mass production as models for art and artistic production does not, after all, make modernist art inherently more functional.In this workshop held during the second semester of UOU we discussed machine aesthetics through landscape and we designed collective landscape(s) together.Students contributions:  Anja Bakullari and Pelin Yardımcı, Dorna Farrahi and Beyzanur Meriç, Eslem İnce, İpek Erişen and Joschi Kron, İlir Gökhan and Elora Perez, Mohammad Gerami and Asiye Nurztürk, Nilay Aslan and Niklas Klinck, Thomas Piacenza and Zümra Ocak
      PubDate: 2022-06-26
  • Homeland Miniatures

    • Authors: Ozan Avci
      Abstract: In architectural education, one of the most common and universal representation techniques is ‘central perspective’ which was discovered during Renaissance period. The rational world that The Renaissance offered us helps to create a universal language in the field of architecture and enables to represent our thoughts on space so as to create a dialogue between ourselves and others. On the other hand, some other techniques like iconography or miniature drawing reflect another understanding of the world and space per se that could be a new way of representation in our era.This ATLAS includes the work produced during the Workshop “Homeland Miniatures: A Collective Digital Travel book” held during the first semester of the UOU class in 2022. Students contributions: Anja Bakullari and Pelin Yardımcı, Dorna Farrahi and Beyzanur Meriç, Eslem İnce, İpek Erişen and Joschi Kron, İlir Gökhan and Elora Perez, Mohammad Gerami and Asiye Nurztürk, Nilay Aslan and Niklas Klinck, Thomas Piacenza and Zümra Ocak.
      PubDate: 2022-06-26
  • Venice in the Metaverso

    • Authors: Javier Sánchez Merina, Joaquín Alvado
      Abstract: Competition research
      PubDate: 2022-06-26
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