Suchergebnisse

Australia is vulnerable to the impacts of tsunamis and exposure along the SE coast of New South Wales is es- pecially high. Significantly, this is the same area reported to have been affected by repeated large magnitude tsunamis during the Holocene. Efforts are under way to complete probabilistic risk assessments for the region but local gov- ernment planners and emergency risk managers need infor- mation now about building vulnerability in order to develop appropriate risk management strategies. We use the newly revised PTVA-3 Model (Dall'Osso et al., 2009) to assess the relative vulnerability of buildings to damage from a "worst case tsunami" defined by our latest understanding of regional risk – something never before undertaken in Australia. We present selected results from an investigation of building vul- nerability within the local government area of Manly – an iconic coastal area of Sydney. We show that a significant proportion of buildings (in particular, residential structures) are classified as having "High" and "Very High" Relative Vulnerability Index scores. Furthermore, other important buildings (e.g., schools, nursing homes and transport struc- tures) are also vulnerable to damage. Our results have seri- ous implications for immediate emergency risk management, longer-term land-use zoning and development, and building design and construction standards. Based on the work un- dertaken here, we recommend further detailed assessment of the vulnerability of coastal buildings in at risk areas, devel- opment of appropriate risk management strategies and a de- tailed program of community engagement to increase overall resilience.

This study looks at how political power has imagined-and-imaged itself in Nairobi's city centre. It examines how the city's built environment has transformed ubiquity into place-of-belonging. Built culture is considered as a tool (though not an exclusive one) for forging a relation between society and a given spatial context; a medium for society to 'personalise' its space. The focus is iconic buildings sited in the central, public and symbolic space and is further delimited to their architectural style. Political authority, though not singularly responsible for collective identity, has been selected as the point of departure because its contribution is decisive. Therefore, it is as a product of political performance that Nairobi is interrogated. An exploration of possible connotations and nuances of the styles employed to erect its iconic buildings are sketched out. Nairobi's colonial government used a neo classical style. Kenyatta, the first indigenous president, distanced himself from this neo-classical tradition. His preference was a stylised-African statement. And, in addition to selecting a different style he re-oriented the spatial dynamics in City Square thus re-articulating its identity. For a fuller scrutiny of Nairobi, it is compared to neighbouring Dar es Salaam (the commercial capital of Tanzania). Dar es Salaam features greater variety in architectural styles: Arab-Swahili, European classical with Omani-Arab features and the decorative saracenic compositions. Meanwhile, architectural variety in colonial Nairobi, where the British had over six decades–undisturbed– to craft their image, is bluntly neo-classical. Presented with more (or less) polarised colonial images, the indigenous presidents of Kenya and Tanzania reacted differently. Nairobi's postcolonial image is overtly 'african' perhaps as a response to the equally overt neo classicism of the colonials. Dar es Salaam, on the other hand, is devoid of strident back-and-forth in its stylistic discourses. In conclusion, it appears the more spirited ...

This study looks at how political power has imagined-and-imaged itself in Nairobi's city centre. It examines how the city's built environment has transformed ubiquity into place-of-belonging. Built culture is considered as a tool (though not an exclusive one) for forging a relation between society and a given spatial context; a medium for society to 'personalise' its space. The focus is iconic buildings sited in the central, public and symbolic space and is further delimited to their architectural style. Political authority, though not singularly responsible for collective identity, has been selected as the point of departure because its contribution is decisive. Therefore, it is as a product of political performance that Nairobi is interrogated. An exploration of possible connotations and nuances of the styles employed to erect its iconic buildings are sketched out. Nairobi's colonial government used a neo classical style. Kenyatta, the first indigenous president, distanced himself from this neo-classical tradition. His preference was a stylised-African statement. And, in addition to selecting a different style he re-oriented the spatial dynamics in City Square thus re-articulating its identity. For a fuller scrutiny of Nairobi, it is compared to neighbouring Dar es Salaam (the commercial capital of Tanzania). Dar es Salaam features greater variety in architectural styles: Arab-Swahili, European classical with Omani-Arab features and the decorative saracenic compositions. Meanwhile, architectural variety in colonial Nairobi, where the British had over six decades–undisturbed– to craft their image, is bluntly neo-classical. Presented with more (or less) polarised colonial images, the indigenous presidents of Kenya and Tanzania reacted differently. Nairobi's postcolonial image is overtly 'african' perhaps as a response to the equally overt neo classicism of the colonials. Dar es Salaam, on the other hand, is devoid of strident back-and-forth in its stylistic discourses. In conclusion, it appears the more spirited ...

Abstract. Australia is vulnerable to the impacts of tsunamis and exposure along the SE coast of New South Wales is especially high. Significantly, this is the same area reported to have been affected by repeated large magnitude tsunamis during the Holocene. Efforts are under way to complete probabilistic risk assessments for the region but local government planners and emergency risk managers need information now about building vulnerability in order to develop appropriate risk management strategies. We use the newly revised PTVA-3 Model (Dall'Osso et al., 2009) to assess the relative vulnerability of buildings to damage from a "worst case tsunami" defined by our latest understanding of regional risk – something never before undertaken in Australia. We present selected results from an investigation of building vulnerability within the local government area of Manly – an iconic coastal area of Sydney. We show that a significant proportion of buildings (in particular, residential structures) are classified as having "High" and "Very High" Relative Vulnerability Index scores. Furthermore, other important buildings (e.g., schools, nursing homes and transport structures) are also vulnerable to damage. Our results have serious implications for immediate emergency risk management, longer-term land-use zoning and development, and building design and construction standards. Based on the work undertaken here, we recommend further detailed assessment of the vulnerability of coastal buildings in at risk areas, development of appropriate risk management strategies and a detailed program of community engagement to increase overall resilience.

Building Green explores the experience of environmental architects in Mumbai, one of the world's most populous and population-dense urban areas and a city iconic for its massive informal settlements, extreme wealth asymmetries, and ecological stresses. Under these conditions, what does it mean to learn, and try to practice, so-called green design? By tracing the training and professional experiences of environmental architects in India's first graduate degree program in Environmental Architecture, Rademacher shows how environmental architects forged sustainability concepts and practices and sought to make them meaningful through engaged architectural practice. The book's focus on practitioners offers insights into the many roles that converge to produce this emergent, critically important form of urban expertise. At once activists, scientists, and designers, the environmental architects profiled in Building Green act as key agents of urban change whose efforts in practice are shaped by a complex urban development economy, layered political power relations, and a calculus of when, and how, their expert skills might be operationalized in service of a global urban future.

Abstract
This article sets out to analyze the connections between three different but related phenomena (capitalist globalization, the Anthropocene, and the coronavirus epidemic) through the lens of iconic buildings and spaces and the cities in which they are mostly found. I argue that the transnational capitalist class uses cities as competitors in a global system of lucrative investment opportunities. Capitalist globalization is widely implicated in the Anthropocene (signifying human impacts on the Earth system, usually destructive) and together they facilitate the spread of the coronavirus. The concept of "administrative evil" is mobilized to highlight the ethical dimensions of city planning, and the increasingly "beleaguered city."

How do buildings contribute to an organization's sense of what it is? In this article, we present the findings of a major archival study of an iconic university building to answer this question. Founded in the 19th century as a college for women, the building is analysed as a gendered space that embodies meanings that are selectively deployed and adapted by the present-day, now co-educational, university. By bringing together concepts of space and history so as to examine 'space in history' we show how over long periods of time what buildings 'say' about an organization change so that the past is both a legacy and a resource for shifting organizational identity.

"A pioneering look at the ways in which contemporary architecture serves the interests of the capitalist class, from global North to South and through to the petro-cities of the Gulf States In the last quarter century, a new form of iconic architecture has appeared throughout the world's major cities. Typically designed by globe-trotting "starchitects" or by a few large transnational architectural firms, these projects are almost always driven by private interests. In The Icon Project, sociologist Leslie Sklair focuses on ways in which capitalist globalization is produced and represented all over the world, especially in globalizing cities. Sklair traces how the iconic buildings of our era-elaborate shopping malls, spectacular museums and vast urban megaprojects-constitute the triumphal "Icon Project" of contemporary global capitalism, promoting increasing inequality and hyperconsumerism. He sets out to explain how the architecture industry organizes the social production and marketing of iconic structures and how corporations increasingly dominate the built environment and promote the trend towards globalizing, consumerist cities. The Icon Project, Sklair argues, is a weapon in the struggle to solidify capitalist hegemony as well as reinforce transnational capitalist control of where we live, what we consume, and how we think"--

"Alexander Wood asks a deceptively simple question about New York City in its most iconic period of growth from the 1880s to the 1930s: "Who did this?" In chronicling the labor of architects, builders, contractors, and construction workers, Wood compels our attention to the physical and social challenges embodied in buildings: where did the billions of bricks, millions of feet of lumber, millions of pounds of stone, and thousands of miles of wire, pipe, and steel come from, and who arranged to use them when, where, and how they were? His answers reveal much about the local specifics but also about national and international flows of ideas and goods."

The idea of Estonia's cultural and national self-sufficiency emerged in the nineteenth century. The contribution of writers and poets was essential to this development. Literature anticipated not only cultural, linguistic, and artistic, but also the economic and political emancipation of Estonians. Cultural practices leading to this emancipation were largely based on Baltic German models; many key elements to the independent Estonian national identity are of foreign origin. On the one hand, the nineteenth-century nationbuilding could therefore be described as self-colonization. On the other hand, it rather created a new nation than transformed a preexisting one, since the very concept of national identity was introduced by this process. Through various political and cultural upheavals, the most influential authors from this seminal period of the Estonian modern culture have remained iconic to this day. The traditional identification with them is so strong that the tentative origins of the nation and the identitary struggles of the national poets themselves may often be forgotten and the personal and individual nature of their contribution downplayed.

"A pioneering look at the ways in which contemporary architecture serves the interests of the capitalist class, from global North to South and through to the petro-cities of the Gulf States In the last quarter century, a new form of iconic architecture has appeared throughout the world's major cities. Typically designed by globe-trotting "starchitects" or by a few large transnational architectural firms, these projects are almost always driven by private interests. In The Icon Project, sociologist Leslie Sklair focuses on ways in which capitalist globalization is produced and represented all over the world, especially in globalizing cities. Sklair traces how the iconic buildings of our era-elaborate shopping malls, spectacular museums and vast urban megaprojects-constitute the triumphal "Icon Project" of contemporary global capitalism, promoting increasing inequality and hyperconsumerism. He sets out to explain how the architecture industry organizes the social production and marketing of iconic structures and how corporations increasingly dominate the built environment and promote the trend towards globalizing, consumerist cities. The Icon Project, Sklair argues, is a weapon in the struggle to solidify capitalist hegemony as well as reinforce transnational capitalist control of where we live, what we consume, and how we think"--

To date, there has been no scholarly examination of Nairobi's symbolic space; of the discourses that comprise this national icon. How political power has imagined-and-imaged itself in this space; how it has re-presented and re-produced itself in city centre, is the subject of this study.The question is: What material culture, specifically what built environment, has been employed to transform Nairobi's ubiquity into p/ace-of-belonging? Built culture is considered as a tool (though not an exclusive one) for forging a relation between society and a given spatial context; a medium for society to 'personalise' its space. The focus is iconic buildings sited in the central, public space. It is further delimited to their architectural style.Political authority, though not singularly responsible for collective identity, has been selected as the point of departure because its contribution is decisive. For instance, nation states in Africa, as we know them today, were a creation of a political meeting —the Berlin conference of 1884/5. The role of politics, in imagining and actualizing collective identity is by no means insignificant.Therefore, it is as a product of political performance that Nairobi is interrogated. And the political power addressed includes the administration of the Uganda Railways, the colonial government and its indigenous counterpart. Each regime's iconic buildings are examined: the Railways' station and headquarters, various government offices and the monumental neo-classical High Court and City Hall. An exploration of possible connotations and nuances of this style are sketched out.Kenyatta, the first indigenous president, distanced himself from the colonial neo-classical tradition. Stylistically, his Kenyatta International Conference Centre (kicc) is an antithesis to the neo-classical. His preference was a stylised-African statement. And, in addition to selecting a ; To date, there has been no scholarly examination of Nairobi's symbolic space; of the discourses that comprise this national icon. How ...

To date, there has been no scholarly examination of Nairobi's symbolic space; of the discourses that comprise this national icon. How political power has imagined-and-imaged itself in this space; how it has re-presented and re-produced itself in city centre, is the subject of this study.The question is: What material culture, specifically what built environment, has been employed to transform Nairobi's ubiquity into p/ace-of-belonging? Built culture is considered as a tool (though not an exclusive one) for forging a relation between society and a given spatial context; a medium for society to 'personalise' its space. The focus is iconic buildings sited in the central, public space. It is further delimited to their architectural style.Political authority, though not singularly responsible for collective identity, has been selected as the point of departure because its contribution is decisive. For instance, nation states in Africa, as we know them today, were a creation of a political meeting —the Berlin conference of 1884/5. The role of politics, in imagining and actualizing collective identity is by no means insignificant.Therefore, it is as a product of political performance that Nairobi is interrogated. And the political power addressed includes the administration of the Uganda Railways, the colonial government and its indigenous counterpart. Each regime's iconic buildings are examined: the Railways' station and headquarters, various government offices and the monumental neo-classical High Court and City Hall. An exploration of possible connotations and nuances of this style are sketched out.Kenyatta, the first indigenous president, distanced himself from the colonial neo-classical tradition. Stylistically, his Kenyatta International Conference Centre (kicc) is an antithesis to the neo-classical. His preference was a stylised-African statement. And, in addition to selecting a ; To date, there has been no scholarly examination of Nairobi's symbolic space; of the discourses that comprise this national icon. How ...

Abstract: The old town of Semarang is one of the most historical places in Semarang city, Indonesia, and in the 19th century, it was considered as a major business center. Currently, intending to revitalize this old town as the center for economy, the government has made it a central socio-cultural economic area for tourism development. This study aims to identify the potential economic spots in this old town to support its sustainability. The methodology used was cultural mapping with the geographic information system (ArcGIS) and direct observation in the old town. The results show that the core economic area is located on the main road. Meanwhile, the secondary economic area is situated behind the main roads. Both are selected because the original characteristic buildings which attract visitors. Therefore, adaptive reuse in an iconic building is one of the keys to economic sustainability in this old town.

One of the advances in entertainment facilities and facilitation in the city of Kendari is progress in the internet (virtual world) and in the field of games. This can be seen with the emergence of various entertainment facilities that are engaged in internet cafes (internet cafes) and games. Game Center in Kendari with the Morphosis Architecture Approach is the process of making a container or place that is centered to provide entertainment about the development of games in Kendari City with the process of forming an innovative, iconic building and friendly to the urban environment. The basic concept of Game Center planning and design in Kendari City through interior and exterior structuring with an emphasis on innovative studies iconic buildings and friendly to the urban environment as a goal of the Game Center with the concept of Morphosis Architecture. Game Center Planning in Kendari with the Morphosis Architecture approach must be used in accordance with the functions outlined in the design reference so that it can have a positive impact both for the building manager, the government, the drafting of further references and the wider community. ; Salah satu kemajuan sarana dan fasilitasi hiburan di kota Kendari adalah kemajuan di bidang internet (dunia maya) dan di bidang game. Hal ini dapat dilihat dengan munculnya berbagai sarana hiburan yang bergerak dalam bidang warnet (warung internet) dan game. Game Center di Kendari dengan Pendekatan Arsitektur Morphosis adalah Proses pembuatan sebuah wadah atau tempat yang dipusatkan untuk memberikan hiburan tentang perkembangan game di Kota Kendari dengan proses pembentukan yang inovatif, bangunan ikonik dan ramah terhadap lingkungan perkotaan. Konsep dasar perencanaan dan perancangan Game Center di Kota Kendari melalui penataan interior dan eksterior dengan penekanan studi yang inovatif, bangunan ikonik dan ramah terhadap lingkungan perkotaan sebagai tujuan Game Center dengan konsep Arsitektur Morphosis. Perencanaan Game Center di Kendari dengan pendekatan Arsitektur Morphosis harus digunakan sesuai dengan fungsi yang telah digariskan dalam acuan perancangan sehingga dapat memberikan dampak yang positif baik bagi pengelola bangunan, pemerintah, penyusun acuan selanjutnya dan masyarakat secara luas