Architectural Representation

En 1509, Íñigo López de Mendoza, II conde de Tendilla, explicaba que la inclusión del cimborrio en la Capilla Real de Granada era una cosa que da[ba] mucha vista y ahermosea[ba] en gran manera la Capilla y [hacía] el edificio real y magnifico. Para esas fechas tempranas del siglo XVI, el cimborrio se había convertido en un elemento dignificador de la arquitectura religiosa. Al alarde técnico que suponía su construcción, se unía su doble funcionalidad en el templo, ya que permitía aumentar la iluminación interior de los edificios —se trataba, en última instancia, de una figura de luces, tal y como lo definirá Simón García años más tarde—, que servía, a su vez, para subrayar el eje central del espacio religioso allí donde se cruzaban los brazos de la cruz. Estas razones prácticas y simbólicas favorecieron la construcción de este tipo de estructuras en toda la Europa cristiana a lo largo de la Edad Media y parte de la Moderna. El fenómeno también puede observarse en la Península Ibéric...

Özet
Mekânsal deneyim, fiziksel çevrenin algılanması ile sınırlandırılamayan, bireyin zaman, beden ve ötekiyle kurmuş olduğu çok katmanlı ilişkiler içerisinde şekillenen öznel bir yaşantı olarak değerlendirilmektedir. Liminal mekânlarda kurulan ilişkiler geçişlilik, belirsizlik ve çok katmanlılık temelinde yoğunlaşmaktadır. Modern kent deneyiminin heterojen ve akışkan yapısı içerisinde Kapalıçarşı, tarihsel sürekliliğin ve kültürel dönüşümlerin iç içe geçtiği bir liminal mekân olma özelliği taşımaktadır. Edmund Husserl’in fenomenolojik indirgeme yöntemi, Maurice Merleau-Ponty’nin bedensel yönelim felsefesi, Henri Lefebvre’ün mekânın üretimi yaklaşımı ve Michel De Certeau’nün gündelik hayat pratiklerine yönelik ortaya koymuş olduğu kavramsallaştırmalar bu araştırmanın kuramsal çerçevesini oluşturmaktadır. Bu çalışma yöntembilimsel olarak nitel araştırma yöntemi içerisinde yer alan fenomenolojik bir saha çalışması temelinde yapılandırılmıştır. Derinlemesine mülakat tekniği aracılığıyla elde edilen nitel veriler fenomenolojik indirgeme sürecinde tema ve alt temalara ayrılarak bireylerin Kapalıçarşı ile kurdukları öznel deneyim formları ortaya çıkarılmıştır. Devamında söz konusu veriler ilgili literatürle ilişkilendirilerek araştırmanın bulgularına ulaşılmıştır. Katılımcıların sunmuş olduğu anlatılar ve bedensel yönelimler, zamansal duyumsamalar, duygusal bağlar ve gündelik pratikler çerçevesinde biçimlenen öznel deneyim formlarını açığa çıkarmaktadır. Böylelikle Kapalıçarşı, mimari formu aracılığıyla toplumsal yaşamın semantik düzeyinde anlam taşıyan ve üreten bir kitle iletişim aracı olma özelliğine haizdir. Elde edilen bulgular, liminal mekânlarda beden, zaman ve bellek bağlamında bireysel deneyimlere ilişkin önemli kavrayışlar sunmaktadır. Çalışma disiplinler arası bir perspektifle, Kültürel Kuram ekseninde kent ve gündelik hayat sosyolojisi ile mekân felsefesi arasında kurduğu karşılıklı ilişkiler üzerinden ilgili literatüre katkı sunmayı amaçlamaktadır.
Anahtar Kelimeler: Mimari, İletişim, Liminal Mekân, Öznel Deneyim, Fenomenoloji, Gündelik Hayat, Kapalıçarşı.

Abstract
Spatial experience is considered to be a subjective experience shaped by the individual's multi-layered relationships with time, body and others, which cannot be limited to the perception of the physical environment. Relationships established in liminal spaces are concentrated on the basis of transience, uncertainty and multi-layeredness. Within the heterogeneous and fluid structure of the modern urban experience, the Grand Bazaar possesses the characteristic of being a liminal space where historical continuity and cultural transformations intertwine. Edmund Husserl's phenomenological reduction method, Maurice Merleau-Ponty's philosophy of bodily orientation, Henri Lefebvre's approach to the production of space, and Michel De Certeau's conceptualisations of everyday life practices form the theoretical framework of this research. This study is methodologically structured on the basis of a phenomenological field study within the qualitative research method. Qualitative data obtained through in-depth interviews were separated into themes and sub-themes through the phenomenological reduction process, revealing the subjective experiences of individuals with the Grand Bazaar. Subsequently, the findings of the study were reached by relating the data to the relevant literature. The narratives and bodily orientations presented by the participants reveal subjective forms of experience shaped by temporal perceptions, emotional connections, and everyday practices. Thus, the Grand Bazaar, through its architectural form, serves as a means of mass communication that carries and produces meaning at the semantic level of social life. The findings provide important insights into individual experiences in liminal spaces in the context of body, time, and memory. The study aims to contribute to the relevant literature with an interdisciplinary perspective on the axis of cultural theory, through the interrelationships by establishing  between the sociology,of urban and everyday life and philosophy of space.
Keywords: Architecture, Communication, Liminal Space, Subjective Experience, Phenomenology, Everyday Life, Grand Bazaar.

The integration of ancient topography and digital archaeology has opened new horizons in the reading of the territory and in the stratigraphic understanding of historical landscapes, enabling the monitoring and safeguarding of cultural heritage and thus preserving the identity, memory, and traditions of communities, peoples, and civilizations. Traces of the ancient emerge within the contemporary landscape, where past and future intertwine. Ancient topography, by reconstructing the development of stratiÞed landscapes and road networks, analyses the relationships among their components and lays the foundations for preserving the cultural roots of territories. A key tool in this process is the archaeological map, an essential resource for reconstructing the historical dynamics of a territory and an indispensable instrument for planning activities aimed at the protection and enhancement of cultural heritage. In this context, preventive archaeology seeks to mitigate the negative impact of urban development projects and new infrastructure on archaeological landscapes, ensuring their protection during the design and construction phases, within a framework of conscious and sustainable planning. Archaeological mapping today constitutes an effective and affordable tool that supports urban and rural planning, aiding the protection of historic landscapes from the relentless effects of environmental and anthropogenic taphonomic processes. In particular, the archaeological potential map represents a key resource for urban and territorial planning, as it enables a preventive and scientiÞcally grounded assessment of archaeological risk. The use of digital technologies to map archaeological landscapes offers innovative and inclusive methods for the conservation and enhancement of cultural heritage.

L’integrazione tra topografa antica e archeologia digitale ha aperto nuove frontiere nella lettura del territorio, nella comprensione stratigrafica dei paesaggi storici, consentendo di monitorare e tutelare il patrimonio culturale e preservando così l’identità, la memoria e la tradizione di comunità, popoli e civiltà. I segni dell'antico si rivelano nel paesaggio contemporaneo, dove passato e futuro si intrecciano. La topografia antica, ricostruendo lo sviluppo dei paesaggi stratificati, nonché delle reti viarie, analizza le relazioni tra gli elementi che li compongono e crea le basi per preservare le radici culturali dei territori.  Un elemento fondamentale in questo processo è la carta archeologica, strumento qualificante per la ricostruzione delle dinamiche storiche del territorio e imprescindibile per la programmazione di attività di tutela e valorizzazione. In questo contesto si inserisce l’archeologia preventiva, che si pone l’obiettivo di ridurre l’impatto negativo dei progetti di sviluppo urbanistico e delle nuove opere infrastrutturali sui paesaggi archeologici, garantendo la loro protezione durante la fase di progettazione e realizzazione, in un’ottica di sviluppo consapevole (conscious planning) e sostenibile. La cartografia archeologica rappresenta una risorsa efficace e sostenibile, che supporta la pianificazione urbana e rurale, utile alla tutela dei paesaggi storici, da proteggere dagli impietosi effetti dei processi tafonomici ambientali e di matrice antropica. In particolare, la carta del potenziale archeologico rappresenta un mezzo fondamentale per la programmazione, sia a scala urbana che territoriale, poichè consente una valutazione preventiva e scientificamente fondata del rischio archeologico. L’uso di tecnologie digitali per mappare i paesaggi archeologici offre modalità innovative e inclusive per la conservazione e la valorizzazione del patrimonio culturale.

Bu çalışma, tarihî yapıların yeniden inşa süreçlerinde geleneksel koruma ve restorasyon yaklaşımlarının ötesine geçerek, bedenleşme kuramı, yapay zekâ destekli üretim araçları ve spekülatif tasarım yöntemlerini bütüncül bir çerçevede bir araya getirmeyi amaçlamaktadır. Tarihî mekânlar, yalnızca fiziksel varlıklar olarak değil; aynı zamanda kolektif hafızanın, toplumsal kimliğin ve duyusal deneyimlerin taşıyıcısı olarak, çağdaş mimari temsil biçimlerinin ele aldığı çok katmanlı anlatı alanlarıdır. Ancak çoğu zaman bu mekânlara yönelik müdahaleler, fiziksel bütünlüğü korumaya indirgenmekte; mekânın algısal, sezgisel ve deneyimsel boyutları göz ardı edilmektedir. Bu bağlamda çalışma, mimarlıkta tarihsel bağlamların yalnızca korunacak miras nesneleri olarak değil; eleştirel düşünce ve tasarım spekülasyonlarına açık, yeniden üretilebilir anlatı alanları olarak değerlendirilmesi gerektiğini savunmaktadır. Araştırmanın kuramsal altyapısı, bedenin mekânla kurduğu ilişkiyi açıklayan fenomenolojik yaklaşımlar (Merleau-Ponty), mekânsal hafıza, nörobilimsel algı ve deneyimsel anlatı biçimlerini kapsayan disiplinlerarası bir yapı üzerine inşa edilmiştir. Özellikle bedenleşme kuramı üzerinden, mimari deneyimin yalnızca görsel algıya değil; işitsel, dokunsal ve yönelime bağlı çoklu duyusal süreçlerle şekillendiği bir çerçeve ortaya konmuştur. Bu çerçeve, yapay zekâ destekli üretim araçlarının sunduğu yaratıcı potansiyel ile birleştiğinde, tarihî yapıların temsil biçimlerinin yeniden düşünülmesini olanaklı kılmaktadır. Çalışmada, Antalya Kaleiçi'nde yer alan Hadrian Kapısı ve çevresi örnek alan olarak seçilmiştir. Yapı, Roma döneminden günümüze kadar gelen çok katmanlı fiziksel dokusu, arkeolojik sürekliliği ve günümüzdeki yoğun yaya kullanımı ile hem geçmişin izlerini hem de çağdaş deneyimi taşıyan bir eşik mekân olarak değerlendirilmiştir. Seçilen alanda geliştirilen yapay zekâ destekli spekülatif kesitler, senaryolaştırılmış sahneler ve mekânsal anlatılar aracılığıyla, fiziksel temsile alternatif eleştirel ve deneyimsel modeller üretilmiştir. Yöntemsel olarak çalışma, alanın tarihsel verilerinin harita temelli analizlerle derlenmesiyle başlamış; ardından üretken yapay zekâ modelleri kullanılarak kesitler, sahneler ve mekânsal akış diyagramları tasarlanmıştır. Bu temsiller, yalnızca estetik görselleştirmeler değil; aynı zamanda bedenin mekânla kurduğu ilişkileri, hafızayı ve zaman-mekân sürekliliğini temsil eden anlatı araçları olarak değerlendirilmiştir. Yapay zekânın yalnızca üretim aracı değil, düşünsel bir ortak olarak konumlandığı bu yaklaşım, mimari temsilde eleştirel düşüncenin görsel ifadesine zemin hazırlamaktadır. Sonuç olarak, bu çalışma; spekülatif mimari temsilin, bedenleşmiş deneyimin ve yapay zekâ destekli üretimlerin bir araya getirildiği çok katmanlı bir model önererek, tarihî mekânların yeniden inşasına dair mimarlık kuramı ve dijital tasarım pratiği arasında özgün bir köprü kurmaktadır.

The place is Aliko Beach, Naxos Island, Greece. The time is 12:27 pm, August 2, 2020. The breeze of the Aegean Sea at the abandoned hotel on this low hill overlooking the sea allows my presence under the strong midday sun. I stand in the middle of a slightly discolored turquoise circle with a pointed arrow reading "point of view" (Fig. ). I adjust my body to the circle and my eyes follow the instructions on the floor. I'm staring at Beaching, as I would find out later. It depicts two colorful, supernaturally big birds. I wonder whether this is one of the many rare species residing in the fragile ecosystem of the area that was disturbed when this hotel was erected in the early 1970s. The bird feathers somehow resemble the local famous cedar forest. The pictorial scene is completed with a blue sky and a beach fusing the drawing with the reality. Of course, this is not my first encounter with WD's work. Yet, it is the first time that this encounter is directed. I look around and see more WD pieces and couldn't resist exploring the entire site. I start walking and remember the words of urban designer Gordon Cullen (1961, 118) on embodied perception: we apprehend space "through kinesthetic experience." Gorillas, sea dragons, elves, three-eyed giants, and all sorts of exotic animals and surreal creatures inhabit the abandoned hotel. But they don't just occupy they walls. WD's pieces interact with them: they extend them, offering (an illusion of) depth, openings and materiality, to name a

Bireylerin veya toplulukların mülkiyet haklarının ellerinden alınma süreci olan mülksüzleştirmenin farklı veçheleri vardır. Mülksüzleştirme şeyleri ve toplulukları yeniden düzenlemenin hem epistemik hem de yönetimsel bir aracı olarak işlev görür. Bu bağlamda, mülksüzleştirme sadece maddi varlıkların el değiştirmesi değil toplumsal, kültürel, ekonomik ve ekolojik yapıların yeniden şekillendirilmesini içeren bir mekanizmadır. Günümüzde geleneksel kolonyal pratiklerden “mülksüzleştirme yoluyla birikim”  anlayışına uzanan çeşitli el koyma biçimleri, ırksallaştırılmış toplulukları sistematik bir süreklilikle her açıdan mülksüzleştirmeye devam ediyor. "İmkân ve İhtimal", bu süreci çeşitli tahakküm politikaları çerçevesinde dekolonyal bir perspektiften tartışmaya açıyor.

The representation of the city of L'Aquila, in the banner, the so called Gonfalone, painted in 1579 by Giovan Paolo Cardone, is
the oldest known view of the historic center. Contrary to what usually occurs in devotional representations, mostly symbolic, the
banner gives a surprisingly detailed image, where the numerous elements still recognizable today appear strongly corresponding.
The mountainous nature of the territory, even close to the city, allow to have points of view from above of the urban center that
offer sights similar to the one represented. The contribution, based on the reconstruction of the historical and cultural context, as
well as through a detailed analysis of the artifact and the critical comparison with the current panorama, proposes that a camera
obscura has been used to realize the view depicted in the gonfalone.

The paper explores the process of ideation drawing to develop visual thinking and geometric capacity in students. The purpose is to challenge students with new exercises to methodologically advance the complexity of their drawing, making it a unique language. The proposal is based on Bloom's Taxonomy, where knowledge acquisition refers to knowing, understanding, and applying learned concepts. The aim is for students to consistently progress in the complexity of their drawing to make it their own language.

O desenvolvimento de uma pesquisa que mostrasse a relação do corpo com o símbolo e, como proposta final, a elaboração de um texto, começou há três anos. Formara-se, inicialmente, um pensamento a respeito, mas que não possuía qualquer fundamento a respeito que se
fechasse em um entendimento. Sabia-se, no entanto, que muita coisa já havia sido escrita sobre símbolos, signos e seus significados, as linguagens e as representações. Mas o que inquietava era algo que ia além de todas as representações linguísticas e semióticas já feitas até então, algo que mostrava que todas as coisas existem, mas que não haveria sentido sem aquilo que as representa. Como se dão tais
representações?

Espanha O CATE é uma conferência subsidiária da Windsor Conference on Thermal Comfort, que acontece tradicionalmente desde 1972, e que sempre esteve ligada ao conhecimento de ponta na área, questionando padrões e propondo inovações nos temas ligados ao conforto. Com um histórico de inovações, a conferência Comfort At The Extremes se iniciou em 2019, e vem realizando encontros anuais em Dubai, Omã, Edimburgo, Ahmedabad e, em 2024, em Sevilha. Um breve histórico e o relato da edição 2023 podem ser encontrados em uploads/2024/09/informativo-37.pdf Houve um workshop pré-conferência inaugurando o IEA Energy in Buildings and Communities Programme EBC -Annex 95, com o tema Human-Centric Building Design and Operation for a Changing Climate, que será desenvolvido de 2024 a 2029 Em Sevilha aconteceu a etapa de preparação para as diversas fases do trabalho. Os temas tratados ao longo do projeto serão: 1) Adaptação às Mudanças Climáticas: projetar edifícios que possam se adaptar a cenários climáticos futuros, proporcionando conforto e eficiência energética; 2) Projeto Centrado no Ser Humano: explorar como as pessoas interagem com os edifícios e desenvolver estratégias de projeto que melhorem o bem-estar humano tanto no dia a dia quanto em condições extremas; 3) Integração na Transição Energética: investigar o papel das partes interessadas na adoção e adaptação a novas tecnologias e comportamentos de energia e 4) Insights comportamentais: compreender como os comportamentos dos ocupantes afetam o uso de energia e o conforto interno, particularmente em resposta a eventos climáticos extremos. Na etapa preparatória ocorrida em Sevilha, participei do subgrupo (Re)Design que tratou da definição do problema, dos fundamentos, do envolvimento dos diversos agentes, das políticas públicas e das ferramentas de apoio ao projeto e à avaliação de desempenho e conforto frente às mudanças do clima. As próximas tarefas foram estruturadas da seguinte forma: Revisão das políticas internacionais sobre eficiência energética, saúde e bem-estar dos ocupantes; (Re)design para um clima em mudança: pesquisa e perspec-

Architecture is usually represented in two dimensions through codified representation methods, such as plan, elevation, and section. An elevation and its represented façade refer solely to the framed side of the building, preventing an overall understanding of it if decontextualized from the other elevations. To cope with this problem, various architects have developed methods of representation that would allow a total development of the architecture's exterior (or interior) surface to be depicted. The focus is on drawings that, with different assumptions and references, succeeded in the same intent: a total representation, developed in the plan, of all the interior or exterior façades of a given architecture. The Western examples resulting from Robin Evans' studies, which he called Developed Surface, introduce us to a kind of representation that would later be employed, with similar or lesser intentions, by numerous Japanese architects of the 1970s and 1980s. Each architect depicted architecture's interior or exterior surface for different reasons, but the starting reference was often a traditional Japanese paper model called Okoshi-ezu. The paper aims to expand the knowledge of the Developed Surface drawings through the analysis of case studies of geometrical applications and by investigating the implications of a type of representation that allows for a novel perspective on the façades that make up architecture.

Antroposen, insan faaliyetlerinin Dünya'nın jeolojik süreçleri ve ekosistemleri üzerinde kalıcı etkiler bıraktığı çağ olarak tanımlanır. Bu dönemde iklim değişikliği, biyolojik çeşitlilik kaybı ve çevresel kirlilik gibi insan kaynaklı etkiler belirgin hâle gelmiştir. Antroposen Çağı ekonomi, ekoloji, sosyoloji, çevre bilimi, edebiyat, felsefe, etik gibi birçok disiplin için çalışma konusu olmuştur. Bu çalışmada edebiyat ve çevre çalışmaları alanında uzmanlaşmış Adam Trexler'in Anthropocene Fictions: The Novel in a Time of Climate Change adlı eseri incelenmektedir. Trexler eserinde antroposen kavramından, iklim değişikliğinin öngörülen etkilerinden, iklim değişikliğinin sanatsal ve kültürel alanlara nasıl yansıdığından, romanlar ve bilim arasındaki ilişkiden bahsetmektedir. Trexler'e göre iklim kurguları yalnızca felaket senaryolarıyla değil insanlığın bu krizle nasıl başa çıkabileceğine dair daha geniş bir perspektifle ele alınmalıdır.

Quando sono arrivata in Italia, una delle prime cose che ho osservato, quasi senza volerlo, è stata la pianta delle città. Mi colpì subito la sua forma: un cerchio, poi un altro che lo circondava, e poi ancora un altro. Sembrava un disegno pensato non solo per organizzare lo spazio, ma per esprimere un'idea. Io l'ho letta così: una città costruita attorno a un centro, e da lì ogni abitante collocato a pari vicinanza, come se ognuno avesse diritto a essere vicino al cuore pulsante della comunità. Una disposizione che parla di equilibrio, di equità, una geometria che mi sembrò una testimonianza silenziosa ma potente di democrazia.

This paper describes an innovative design education approach developed to explore new intellectual and theoretical directions of design generation. It utilizes algorithms as a tool for introducing the concept of design computing to graduate students of architecture. The graduate course titled "Designing the Design" is thus developed. The aim of the course is to introduce to the students of architecture the computational design thinking and the new emerging language and method of designing. Examples from the course process are given to illustrate explorations in this new auxiliary teaching method of the design. Computational design approach in education was first introduced by Mitchell, Ligget and Kvan in The Art of Computer Graphics Programming (1987). This book created a source of inspiration for a new research area that explores computational design teaching models Celani, 2002) in architecture. New design courses that aim to investigating and

A partir das reflexões e referenciais apresentados, o problema abordado
por este projeto pode ser expresso na confluência das seguintes questões:
• Como os imaginários urbanos podem enriquecer a experiência sensível
diária da cidade e de seus arredores? Por outro lado, como essas
experiências sensíveis cotidianas podem enriquecer os imaginários
urbanos e contribuir para a reflexão e a produção da cidade?
• Como, a partir de então, os imaginários da cidade são afetados
pelas interações contemporâneas entre as práticas urbanas e as
constelações de imagens digitais da Web?
• As concepções populares / vernaculares e acadêmicas / institucionais
dos imaginários urbanos também são afetadas ou alteradas ao
longo desses processos?
• Teriam sido alterados nossos imaginários (que combinam as concepções
popular, institucional e profissional) do futuro das cidades?
• Como todas essas concepções, imaginários, sensibilidades e experiências
individuais e coletivas – que dizem respeito aos espaços
existenciais e de convivência – podem ser consideradas para lidar
com a memória / patrimônio, o presente e o futuro das cidades?
Tais questões centrais motivaram e orientaram este estudo que se fez
como cooperação científica entre equipes interdisciplinares de pesquisadores
de Lyon e de São Paulo, dedicados ao estudo de imaginários urbanos.
Mas, o que caracterizaria um fenômeno como urbano?

Since the 1960s, EPFL has taken a continuous interest in studying so-called 'non-pedigreed' architecture through the active process of architectural surveying. This extensive research was inherited by the Art of Sciences laboratory (LAPIS), which has since contributed to its valorisation and dissemination. Indeed, LAPIS, together with the Archives de la Construction Moderne (ACM), holds hundreds of photographs, physical models, and drawings of vernacular buildings, most of which have in the meantime disappeared. Through systematic field research, the laboratory aims to develop new synergies between the methods of automatic digital survey and those of handcraft drawing, mostly in the Alpine context.

El fotógrafo inglés Francis Frith viajó en tres ocasiones a Oriente Medio entre 1856 y 1860, fotografiando amplias zonas de Egipto, Nubia, Palestina, Siria y Líbano. Su estudio fotográfico, Frith & Co., dio a conocer por todo el mundo la imagen de Oriente a través de unas fotografías al colodión que destacaban por su gran nitidez. La diversificación de formatos y soportes situó el estudio fotográfico como uno de los más importantes de la época. En 1862 Frith publicó un álbum de vistas estereoscópicas titulado Egypt, Nubia and Ethiopia. Un formato novedoso que facilitaba al espectador una experiencia completa de realidad aumentada.

Traditionally, there has been an attribution of public spaces to males and private spaces of domesticity to females; moreover, mosques have been patriarchal spaces. Since the 90s, as both Islamism and feminism are on the rise, public places and topics on women’s roles have been reinterpreted. Under the power of an Islamist party, Turkey witnessed an increase in women’s role in mosque architecture in the last 20 years. Mosque projects that consider and welcome women are carried out, and women as mosque designers became visible. Unlike Islamist feminists’ debate around the world, in which the topic is on ‘women-only’, ‘gender-mixed’, and ‘women-focused/women-led’ mosques, in Turkey, the debate has been on the two genders sharing the same space. This research is an inquiry into the changing role of
women and their relation to the production of mosque spaces, focusing on Turkey. Firstly, the research focuses on creating a theoretical framework and gives information on gender politics and Islamic space. Later, it looks into women as the agents; users of mosques where they appropriate the men’s space, and designers of mosques and their roles in relation to the authority in mosque architecture. Five different case studies by different female architects or designers are chosen in which they occupy various positions in the mosque design. Field research, observations, architectural analyses, and literature review are done; also, interviews are conducted with the architects. This research aims to contribute to feminist discourse with the inclusion of Muslim women and tries to understand women’s claim and their work on equality in the religious space.

The explosive growth of scientific visualization in the past 10 years demonstrate a consistent and tacit agreement among scientists that visualization offers a better representation system for displaying complex data than traditional charting methods. However, most visualization works have not been unable to exploit the full potential of visualization techniques. The reason may be that these attempts have been largely executed by scientists. While they have the technical skills for conducting research, they do not have the design background that would allow them to display data in easy to understand formats.

O proposito deste artigo e a problematizacao do funcionamento do cinema 3D estereoscopico como ferramenta educativa. Esta discussao se baseia em pesquisas empiricas realizadas no Chile, referentes a defasagem entre modalidades comunicacionais docentes, marcadas por referencias narrativas lineares e, por outro lado, por uma cultura infanto-juvenil influenciadas por suportes e conteudos audiovisuais de crescente complexidade conceitual e formal. Com base em um estudo empirico sobre os usos educativos do cinema 3D, realizado em Santiado do Chile em 2012, o texto identifica tres problematicas interrelacionadas, que dao conta da especificidade do cinema 3D no marco desta discussao entre cinema, cultura e educacao.

The introduction of digital technologies has transformed architectural history research, integrating technical skills for architectural analysis. Tools like 3D laser scanning and modelling – accelerated by the pandemic – have enabled
new approaches to reconstructing and enhancing historical buildings. Digital humanities has fostered a dialogue between the humanities and technology, improving the preservation and analysis of the built environment. The rise
of artificial intelligence also plays a pivotal role, offering new ways to process and interpret complex architectural data. Researchers are tasked with reconciling traditional knowledge with digital innovation, facing the challenges of the digital era and reflecting on the future of historical research.

Tıp biliminin 300 yıldan fazladır üzerinde durduğu sinestezi kavramı en genel haliyle renklerin sese, şekillerin tada dönüştüğü bir algıyı ifade etmektedir. Bir sanat eserinin bütünlüğünü sağlayan en önemli unsurun planlı bir kompozisyon olması gerektiği düşünüldüğünde ise sinestezik algının sanat eserinde yaratıcılığı geliştirdiği söylenebilmektedir. İyi bir sanatçının özgün eserler yaratabilmesi için hassas ve derin duyulara sahip olması gereklidir. Tarihte ismini duyurmuş, sanat sektörünü geliştirmede faydalı olmuş, birçok deha, olağandışı farklı yeteneklere sahiptir. Bahsi geçen bazı sanatçıların ise sinestezik algıya sahip olduğu yapılan araştırmalarla ortaya koyulmuştur. Duyular arası ilişki sinestezik sanatçıları günlük yaşantıları en fazla etkileyen durum olmaktadır. Çünkü her insan yaşamını, tat, koku, işitme, görme gibi duyularla yönlendirmiştir, bazı sanatçılarda iki veya dört duyu bir arada çalışabilmektedir, örneğin ressamlarda en çok görülen, duydukları seslerin, renklerini algılayıp onları görs elleştirmek olduğu bilinmektedir. Hazırlanan bu çalışmada, Sinestetik bakış açısına dayalı bir şekilde, sanat eserini üretmede kaynak olan psiko-nörolojik durumların sanat ürünü üzerindeki etkileri anlatılmaktadır. Ayrıca Carol Steen, Vincent Van Gogh gibi sanatçı örnekleri verilerek eserleri incelenmiştir.

This paper presents a theoretical review of the stereoscopy concept based on a detailed analysis of its evolution and state of art. It explains the stereoscopy’s operation, its phenomena and principles, and describes the stereoscopic vision process, the stereoscopic observation methods: convergent vision and parallel vision, and their techniques: spectral separation, temporal separation and spatial separation; the tools and devices that enable that vision and some of the most used applications in multiple fields of science, e.g. terrain reconstruction and telemedicine.

Cities are naturally formed through their linkage with the ground/soil, creating levels of the city according to morphological land features and relational identifications with the ground, revealing urban ground typologies that may become symbolic interpretations of original geographies and heritage. This paper argues the importance of porous and earthly surfaces as phenomenological opportunities for “active recreation, a green transportation alternative, a venue to celebrate our heritage as well as an opportunity to regenerate sensitive waterfront lands”. It criticizes the tendency to soil seal, which is “one of the main causes of soil degradation in the EU”, and which “puts biodiversity at risk” and “contributes to global warming”. Aiming to not only preserve natural soft edge transitions with the water but also take advantage of a site’s cultural and historic interest, the discussion also emphasizes the importance of natural arterial continuity (urban greenways) and morphological earth identification, offering alternative solutions to waterfront hardscapes. Although Greece is at the better end of European countries regarding the degree of soil sealing as a percentage of its total land area (1.35%), it is a country which tends to soil-seal its urban waterfronts, despite the great opportunities to create ‘earthly’ connections not only along the seashore but also through the formation of soil arteries that could potentially reach the surrounding near mountains, from the sea.

The original contribution of this paper is the perspective of phenomenology in suggesting softer surfaces over soil sealing within the context of Greek waterfront cities, helping enhance the scientific discussion on the field of environmental urban design and common landscape practices of permeable surfaces as new strategic initiation points towards urban renewal.

With Sidewalk Toronto's Quayside project, Toronto joined other cities where smart city projects have been conceived, initiated, and studied. For nearly two and a half years, newspaper space devoted to this project was central to public reception, perception, and response. With regard to The Globe and Mail and the Toronto Star, there was a conjunction between journalism discourse and planning a 'smart' neighbourhood assemblage based on the dual production of urban space. At the core of the Quayside project story was the question of big tech power and the 'right' novel neighbourhood assemblage for Toronto. I argue that mediatized controversy played a double role by expressing a propose-and-public pushback dynamic and as curriculum for place-based urban learning.

Architecture has undergone significant changes over the years, yet these changes are not always reflected in professional discussions. While innovation and progress in architecture involve relativity, the transformation in the semantic roles attributed to the architect often goes unnoticed. This study opens a new field of discussion by analysing the transformation of architecture from an interdisciplinary structure to a specialized discipline. In architecture, representation has led to a more focused and specialized practice that continues to evolve. This study limits architectural representation to the scope of 'drawing' and examined the changes and transformations created by architectural drawing within the field. Through an in-depth literature review, the study identifies key breaking points in the representation of architecture from the 5th to the 21st centuries, highlighting means-end distinction. These breaking points correspond to shifts in meaning in architecture over time. The synthesis graphic created as a result of the study reveals the projection of the meaning crisis in the relationship between architecture and representation. In this context, the study significantly contributes to the development and progress of architectural practice by creating a new basis for discussing the means-end distinction, thus eliminating the synonymy of architecture with mere construction activities in architectural representation.

This article proposes to investigate the possibilities of incorporating conceptualizations about the hybrid in the field of architecture from an academic experience: the theoretical investigation applied to the practical design exercise as a Final Graduation Work in Architecture and Urbanism at FAU Mackenzie. The essay is done by 4 hands: academic advisor and undergraduate, who work together at the TFG (Graduation Final Thesis), lasting 1 year. The research and project theme-hybrids in the contemporary city-was proposed by the student and accepted by the teachers involved in the process. From a theoretical investigation that largely reflects the one received by the student during his graduation, which in this article is carried out by the advisor, the undergraduate student exposes his reflections about the process and the conceptual exercises for the definition of the theme, in addition to the first steps of the research and project. Still in an initial phase (the project will be completed by June 2025), the authors believe that the reflection on the exercise, here explored from an academic, theoretical and practical perspective, can contribute to broad the discussion about the concept of the hybrid, a phenomenon very present in the daily life of large cities, in this discussion considered as an important strategy for the training of professionals deeply connected with contemporary realities.

In the Carceri´s series, Piranesi draws imaginary labyrinths of wonder and mystery. We are captivated by the dark environment, full of architectural elements, low-key lighting, strong contrasts defining staircases, bridges, tunnels and ornaments. The linear perspective, drawing these crossed paths and structures of this fictional maze, is generally defined here by two vanishing points, creating some distortion and oppressing the viewer. Using masterfully the geometrical system, Piranesi creates an overlapped complexity of distances, directions and scales. But there is another parallel system being used: the atmospheric perspective. This study dives first into an analysis of the light sources and shadows, to better understand their expressive role on the definition of the three-dimensional immersive space. A tonal analysis was then made, by the separation of dark, mid and bright tones, to present the compositional structure and pinpoint the densities and contrasts, where the tonal depths are defined and used. From the layered analysis of these receding interplaying depths, we arrive to the display of the gradual setup that defines a neoclassical atmospheric perspective, from a peripheric darkness into a dreamy hazy deep background. The atmospheric compositions drawn by Piranesi can play, therefore, a sensorial role where our senses are tested and manipulated through an illusionary immersive depicted space; but also, a narrative role, where it defines an emotional ethos of a trapped romantic spirit.

AVCI, O.,  2024. “Architectural Representation as a Body Without Organs” in “Beauty and Monstrosity in Art and Culture” edited by: Chara Kokkiou and Angeliki Malakasioti, Routledge, New York, p. 179-186. ISBN: 978-1-032-35582-5 (hbk), ISBN: 978-1-032-35584-9 (pbk), ISBN: 978-1-003-32751-6 (ebk),
DOI: 10.4324/9781003327516

Cet article propose une vision plus précise d'un problème antique, rédigé par l'architecte romain, Vitruve, (1er siècle avt j.c.) en partageant quelques aperçus essentiels sans entrer dans les détails de ma résolution. Ces éléments permettent dans un premier temps, de mieux comprendre les fondements mathématiques qui sous-tendent mon argumentation et de formaliser dans le même temps la réponse contenue dans ce croquis iconique, réalisé à la plume, à l'encre et au lavis vers 1490, par un maître toscan connu sous le nome de Léonard de Vinci. L'original se trouvant aux Galeries de l'Académie de Venise depuis 1822. Il répond ainsi brillamment, à travers ce croquis, à la conviction de l'architecte Vitruve émise 1500 ans plus tôt. J'ai exploré l'interaction entre la géométrie, la cinématique et la nature abstraite des formes mathématiques, telles que le carré et le cercle. Mon objectif est d'approfondir, sur le plan algébrique, la genèse de la pensée de Léonard de Vinci telle qu'elle s'exprime dans son célèbre croquis de l'Homme de Vitruve. Mes investigations démontrent que les idées de Léonard, inspirées de Vitruve, reposent sur des concepts géométriques solides et vont bien au-delà de l'artistique et encore bien au delà de la pensée philosophique comme les différentes communautés scientifiques le prétendent aujourd'hui, renforçant ainsi la cohérence de ce croquis en tant que modèle mathématique du corps humain idéal. Ce modèle s'appuie sur la symétrie naturelle des proportions humaines, la réduction d'un quatorzième du cercle comme stipulé dans le Traité Architectura, l'importance des diagonales implicite du carré et la relation avec l'un des solides de Platon, dissimulé intentionnellement dans le dessin, qui est l'expression même de son esprit espiègle.

Writing is not solitary work, and it is not stationary business. This text has taken me to many places and has put me in touch with many people. I wish to express my gratitude towards all those who have contributed to this PhD thesis. These are the people who have helped me not to lose the plot. First of all, my warmest and most heartfelt thanks to my main advisor, Dr. Katja Grillner, for her brilliant mind and professional instincts, for her way to make things happen, for her courage and patience, and most of all, for her way to share all these qualities with such warm confidence. No one could have done it better. Since my licentiate thesis presentation in 2003, Dr. Rolf Gullström-Hughes has been co-advising my PhD thesis work, adding skilled guidance and bright ideas on many levels to this work, not least concerning the art of putting words together to form a dissertation. For being my rock -but not a hard place, I want to thank you both specially. I am very grateful for the support of Prof. Jerker Lundequist, my first co-advisor, who encouraged me to embark on this journey. He has been a great teacher and initiator. The research group xakt: critical theory in architecture, has through its first years developed from a seminar group to an important forum for researchers both within and without the KTH School of Architecture. I wish to thank my colleagues of the xakt group for their valuable feedback and energizing comments, Thordis Arrhenius, Pablo Miranda, Catharina Gabrielsson, Lars Raattamaa, Ulrika Karlsson, Jenny Wiklund, among others, and especially Katarina Bonnevier whose perspective is as fresh as our friendship is old, and Jonas Runberger who has just started his research trip, but whom I have shared the journey as a friend, co-tutor and fellow researcher since my Diploma year at the

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This paper proposes two methods for the development of graphical representations with interactivity and motion and describes research done with some architecture students from a school in Brazil to first investigate the possibility of using the proposed representations. Data from this study indicate the possibility of the introduction, regarding the use and manipulation by the students of the two types of representation proposed for visual analysis of academic architectural projects.

This paper proposes a method for the use the traditional animation technique, the flip book, to analog visualization of motions developed from digital media. Then, the study proposes a method of developing flip books from animations generated with the software Sketchup. With the development of examples the study shows the possibility of representation of motion on representations in paper, and that these motions can be generated from a digital three-dimensional model.

This paper proposes two methods for the development of graphical representations with interactivity and motion and describes research done with some architecture students from a school in Brazil to first investigate the possibility of using the proposed representations. Data from this study indicate the possibility of the introduction, regarding the use and manipulation by the students of the two types of representation proposed for visual analysis of academic architectural projects.

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La façade constitue un élément essentiel du bâtiment. Sur elle converge une série de contraintes normatives et réglementaires assurant l’isolation thermique, la stabilité au feu, l’inertie, et enfin le confort des occupants à l’intérieur. Dans le domaine de la création architecturale, sur la façade converge également un travail de modulation géométrique et de perfectionnement des proportions, duquel émane une expression formelle allant au-delà des contraintes physiques. En effet, à la différence d’autres métiers techniques, en architecture, plus clairement qu’en ingénierie, la forme finale du projet convie une recherche volontairement symbolique et expressive qui transcende la logique et l’efficacité technique des normes et des règles de l’art de la construction. Jean-Nicolas-Louis Durand a décrit cette expression dans le domaine de la création architecturale comme l’« art de produire et de porter à la perfection tout édifice quelconque »  à partir des certaines règles préétablies.

Un bâtiment ne parle pas, mais il communique d’une autre manière des messages, qui sont les idées des architectes. Si l’architecture est un langage, si l’architecture est une « écriture d’idées », nous se demanderons comment rendre l’idée visible, métaphoriquement, comment fera un bâtiment parler ?

Nous proposons alors une hypothèse analogique : « Si le bâtiment parlait, il parlerait chinois ». Cette hypothèse oriente nos recherches vers l’études des rapports entre langage architectural et langage naturel : à l’intérieur de ce champ interdisciplinaire, l’écriture graphique et idéographique chinoise devient notre objet référentiel. Les caractères chinois unifient la forme et le sens en même temps, ils sont les figurations des idées fondées sur le système idéographique – un système « écrire l’idée ». Dans ce sens, l'écriture idéographique et l'écriture architecturale, ces deux processus de figuration peuvent parallèlement se comparer, l’écriture idéographique pourrait proposer un outil conceptuel pour l’écriture architecturale, constituer un nouveau modèle linguistique pour la conception de l’architecture contemporaine.

Ink proposes a creative and critical inquiry into ink's instrumentality in architecture. This collection of short essays comprises a latent history of architecture in ink, placing ink in our world with the purpose of gaining knowledge within and for the architectural discipline. A close consideration of the varied conceptual and material aspects of ink acts as a medium to reflect upon the means by which architectural knowledge is generated, articulated, and applied.

Photorealistic renderings of architectural designs are now pervasive in media of every kind and regarded as indispensable in the world of architecture at every level. They occupy a space between architecture and photography whose mixing of virtual and real, production and re-production, entails a series of implicit premises and results that are generally taken for granted, conveying a markedly spectacular vision of the city and of architecture. After discussing the reasons for the growing use of photorealism in architecture, the paper presents and analyzes the main categories of photorealistic renderings and their recurrent characteristics, with the aim of showing how the most evident aspects of these images correspond to a range of tendencies in contemporary architecture. The essay, in addition, puts forward some reflections on the relationship between photorealistic renderings and architecture, the reality of construction and society.

Il contributo propone una ricerca avente come tema lo studio storico-critico della chiesa gesuitica di S. Margherita all'Aquila e delle vicende progettuali che hanno condotto alla sua realizzazione, attraverso la modellazione digitale. La chiesa presenta caratteri di non finito e non è noto il relativo progetto. Tuttavia presso la Biblioteca Nazionale di Parigi è conservato un altro progetto del 1625 della stessa chiesa, attribuito al medesimo autore. Sulla base del rilevamento architettonico e dello studio della documentazione storica disponibile, vengono realizzati i modelli 3D della chiesa esistente, di quella di progetto, e di una ipotesi di come sarebbe potuta essere la chiesa attuale qualora fosse stata portata a termine. In tal senso la modellazione digitale, nel suo ruolo euristico di strumento di visual computing delle configurazioni architettoniche ed urbane, favorisce lo studio storico-critico e la comunicazione dei valori storici ed architettonici.

The Albergo dei Poveri (Poors’s House) is a colossal project, unfinished, conceived by Ferdinando Fuga under the commission of Charles of Bourbon, King of Naples and approvved dagli Eletti  in nome del Popolo . The unifinished building,used so, suffered damage from earthquakes, wars, and a lack of maintenance. It regained public attention in 1980 during a major earthquake and became part of the City of Naples's heritage in 1981.now is current an important restoring which will give the city a monument of fundamental importance for its future development

In the architectural design process, the architect(designer) engages in an internal dialogue with themselves, the object of their design, and other stakeholders. This dialogue, in turn, takes place through language and reveals a narrative. Within the architectural design, this language is established through (architectural) representation/ drawing. However, architectural drawing possesses symbolic and semantic layers akin to any language. This study focuses on these layers through "ekphrasis", which is based on the relationship between visual and verbal representation, and asks: "How does ekphrasis as a method relate to the meaning of architectural drawing, and how does it find a place for itself in the architectural narrative?" In this study, the text-meaning-drawing relationship is examined using the deconstruction method and case study techniques. Therefore, a drawing workshop was conducted utilizing Homer's Iliad, as it was the first ekphrastic text. The findings are then discussed in relation to the role of ekphrasis in shaping the architectural narrative.