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THE LATIN AMERICAN EXPORT: IMPLEMENTING LATIN AMERICAN URBAN STRATEGIES TO REDEVELOP AND RECONSTRUCT BRONZEVILLE
Title
THE LATIN AMERICAN EXPORT: IMPLEMENTING LATIN AMERICAN URBAN STRATEGIES TO REDEVELOP AND RECONSTRUCT BRONZEVILLE
Creator
Saldaña Perales, Alejandro
Date
2018
Description
The district and neighborhood of Bronzeville, located in the Near South Side of Chicago, suffers from crime, unemployment, abandonment, and...
Show moreThe district and neighborhood of Bronzeville, located in the Near South Side of Chicago, suffers from crime, unemployment, abandonment, and urban decay; more so than many of its metropolitan peers such as New York City, Los Angeles, or San Francisco.In Latin America, multidisciplinary operations and strategies focused on the investment in public spaces, mobility, and public assets have been successful in transforming decaying neighborhoods and redeveloping slums and blighted areas turning them into vibrant communities.Contextualizing and abstracting such strategies has the potential to import such ideas into new urban contexts; in this case, the United States of America, and to be implemented over the decaying North American urban fabric.
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Drawing on Darwinism: Rewriting the Origin of Louis Sullivan's Idea
Title
Drawing on Darwinism: Rewriting the Origin of Louis Sullivan's Idea
Creator
Frey, Syan
Date
2021
Description
To observe that the unique architectural ornaments that make up the body of work of Louis Henri Sullivan (1856-1924) emulate nature is to...
Show moreTo observe that the unique architectural ornaments that make up the body of work of Louis Henri Sullivan (1856-1924) emulate nature is to state a reality so obvious that it is both pedantic and droll. To use the double entendre that those natural forms drew on Darwinism, however, is to make several more specific claims. First, it can be credibly established that the system of architectural ornament that was the primary contribution of Louis Sullivan to the discipline of architecture was directly inspired by Sullivan’s synthesis of the thesis of natural selection contained within the pages of Asa Gray’s botanical manual. Second, the circumstances of that moment of synthesis reveal that the reason for Sullivan’s Darwinism was not merely the desire to emulate nature, but rather to signify the end of faith. Finally, Sullivan’s synthesis of various Darwinisms drew not only on the thesis for his own artistic inspiration, he drew on the substance of Darwin’s arguments to formulate a secular theory of the nature of inspiration and the technique of design. In the years following, this theory has become the primary technique by which design is taught.Louis’ unique education, which was tied to Darwinism from the very beginning, gave him an unusual perspective on the challenges of architectural design in the industrial age. The economic circumstances of his life as a first-generation immigrant exposed him to just the right education to lead him to explore evolutionary science as the inspiration for design. To be clear, the content of the thesis of natural selection was entirely irrelevant to the theory and practice of architecture in the nineteenth century. Yet by the end of the century the broad consensus among architects, historians, and theorists alike was that there was a, “close and causal relationship,” between Darwinism and modern architecture. Sullivan’s theory drew on Darwinian ideas to dismiss theological styles as empty formalisms, reveal the racism of ethnographic accounts for architectural forms, and argue for the evolution of an American Architecture, liberated from its colonialist origins. The context within which that shift occurred is significant. The justification for nearly every work of architecture in human history prior to the middle of the nineteenth century was some form of god. Mid-nineteenth century architecture in the United States was composed of a variety of regional ethnic styles intended to represent the ethnic origins, religious affiliations, moral inclinations, and nationalist allegiances of an array of displaced immigrant communities. The Civil War laid bare the reality that such ethnic styles represented a segregationist and racialized idea of the modern world. Over the course of the late nineteenth century, the profession of architecture was forced to abandon theological justifications for the practice of architecture as scientifically invalid, morally corrupt, and motivated by racism. This was Sullivan’s full idea: Put instinct before reason in priority, and engage in the iterative analysis of various instincts about the situation. Observe the patterns that emerge. Explore those instincts, until you find that your patterns merge with universal patterns. Do not fear error, as it makes the work alive. The capacity to capture that living essence is in all of us, individually and collectively, not some external force. The most-right instincts are ones in which the resulting form is a demonstration of its function. To understand what Sullivan meant with this we must see it as a Darwinian idea. Instinct is an animal property, a capacity which we share with other species. For Darwin, this sharing of instinct is essential for interspecies empathy. The antithesis of instinct is reason, which Sullivan describes as secondary. Reason is cold and lifeless, but also correct. True reason, Sullivan claims, is learned by experiment, and example. The greatest art speaks not just to our reason, but to our instinct. This, then is the task of the designer – to temper instinct with reasoned evaluation. Sullivan argues that it begins with an intuition, an idea he drew from Darwin’s Descent of Man.
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ARCHITECTURE FOR COLLABORATIVE CREATIVITY - SPACE WE-Q: SPACE INTELLIGENCE EMPOWERING CREATIVE WE CULTURE IN LEARNING-DRIVEN ENVIRONMENTS
Title
ARCHITECTURE FOR COLLABORATIVE CREATIVITY - SPACE WE-Q: SPACE INTELLIGENCE EMPOWERING CREATIVE WE CULTURE IN LEARNING-DRIVEN ENVIRONMENTS
Creator
Mor-Avi, Anat
Date
2020
Description
Changes in societal culture, along with research on how we learn, challenge current architectural solutions. Education’s shifting paradigms...
Show moreChanges in societal culture, along with research on how we learn, challenge current architectural solutions. Education’s shifting paradigms align with these changes and move teaching strategies from teacher-centered to learner-centered, and from formal and passive, to informal and active modes. Another shift emphasizes collaboration and participatory creativity, which evolve the idea of the “collective,” or “We” versus “I” scenarios. In addition, studies show that creativity flourishes in specific contradictory performances. Supporting these reported changes, new knowledge, and paradigm shifts, this research studied how an active, adaptive architectural design approach might emerge into the learning and creative processes. Evidence indicates that “design and space do matter,” particularly in learning- and working-driven domains. Empirical research has been weak in addressing this understanding relative to architectural solutions, affordances, behaviors, and emotions, promoting collaborative creativity. This research aimed to investigate patterns of architectural affordances believing to impact and empower collaborative cultures and behaviors in learning environments (“WE CULTURE”), specifically motions and emotions. A Mixed-method research design was conducted, using two techniques: (a) a content analysis of awarded learning and working environments, and (b) a post-occupancy evaluation using ethnographic techniques to study the Kaplan Innovation Institute at the Illinois Institute of Technology in Chicago, Illinois, USA. In an effort to provide an applied design study, a visual pattern language related to cultures of learning, environment behavior, and emotions was developed. The pattern language is the platform for designing intelligent spaces, SPACE WE-Q, promoting collaborative behaviors, and creativity through adaptive and behavior-based systems of active affordances. SPACE WE-Q offers a planned adaptive system for unplanned creative processes that emerges into learning and suggesting a new relationship between architecture and education, between architects and users, and between users and space.
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The Feasibility of Double-Skin Façades to Provide Natural Ventilation in Tall Office Buildings
Title
The Feasibility of Double-Skin Façades to Provide Natural Ventilation in Tall Office Buildings
Creator
Kim, Yohan
Date
2022
Description
Many tall office buildings (i.e., buildings of or taller than 656 ft (200 m)) are on the rise around the world. The energy efficiency and...
Show moreMany tall office buildings (i.e., buildings of or taller than 656 ft (200 m)) are on the rise around the world. The energy efficiency and healthy environment of tall office buildings has become an important concern, given the current environmental challenges and health considerations. Natural ventilation has proven to be an effective passive strategy in improving energy efficiency and providing healthy environments given environmental challenges. However, such a strategy has not been commonly adopted to tall office buildings that traditionally rely on single-skin façades (SSFs), due to the high wind pressure that creates excessive air velocities and occupant discomfort at upper floors. Double-skin façades (DSFs) can provide an opportunity to facilitate natural ventilation in tall office buildings, as the fundamental components such as the additional skin and openings create a buffer to regulate the direct impact of wind pressure and the airflow around the buildings. Wind-driven natural ventilation has not been fully studied in DSFs as most previous studies focused on the stack effect. Moreover, the studies assumed that the indoor spaces are mechanically ventilated without regard to airflow behavior between the air cavities and the indoor spaces. This study investigates the impact of modified multi-story type DSFs on indoor airflow in a 60-story, 780-foot (238 m) naturally ventilated tall office building under isothermal conditions. Therefore, the performance of wind effect related components was assessed based on the criteria (e.g., air velocity and airflow distribution), with respect to opening size, number of openings per floor, cavity depth, and cavity segmentation. Computational fluid dynamics (CFD) software was utilized to simulate outdoor airflow around the tall office building, and indoor airflow at various heights in case of various DSF configurations. Two sequential CFD simulations were carried out not only to reduce computational time, but also to comprehensively analyze the impact of DSFs responding to positive and negative wind pressures on indoor airflow behavior. The CFD simulation results indicate that the outer skin opening is the more influential parameter than the others on indoor airflow behavior. On the other hand, variations of inner skin opening size help improve the indoor airflow, with respect to the desired air velocity and distributions. Despite some air vortexes observed in the indoor spaces, cross ventilation can occur as positive pressure on the windward side and negative pressure on the other sides generate a productive pressure differential. The results also demonstrate that DSFs with smaller openings suitably reduce not only the impact of wind pressure, but also the concentration of high air velocity near the windows on the windward side, compared to single-skin façades. Further insight on indoor airflow behaviors depending on various DSF configurations leads to a better understanding of the DSF design strategies for effective natural ventilation in tall office buildings. This study aims to develop a performance-based DSF design guideline to assist architects in their design of DSF components in the early design stage.
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