Suchergebnisse

This bibliography addresses the discourse between Latina/o/xs and various architectural and spatial traditions. In the architectural context of the United States, Latina/o/x communities have struggled to carve a space for themselves, sometimes described as a third, subaltern, or alter/native space. Peoples of Latin American descent have experienced persecution in certain architectural settings, operating in consort with state strategies to stereotype, relegate, and criminalize Latina/o/x bodies. Examples here include the border wall dividing the United States and Mexico, urban development projects that segregate and displace historic populations, prison systems holding disproportionate numbers of minorities, and border facilities designed to control and contain immigrant communities. State-sponsored violence—witnessed historically in public lynchings during the 19th century and police brutality used to suppress the Chicano Movement of the 1960s—has likewise produced a feeling that architectural environments, particularly those in the public sphere, remain out of reach for Latina/o/xs. Yet, the architectural history of Latina/o/xs can be said to precede the formation of the United States by more than a thousand years, particularly if we consider the broader history of architecture in the Americas and the Caribbean. It is a history that reaches back to ancient monumental sites of Indigenous peoples in Mesoamerica, the Andes, Amazon, Caribbean, and US Southwest. It projects forward through Spanish and Portuguese urbanization during the colonial period, including African influences that accompanied the trauma of slavery in the Americas after 1492, and Asian material cultures that followed indentured laborers during the 19th century. It is a history that moves forward through nationalist beaux-arts and neoclassic works of the 19th and early 20th centuries into the international modernist styles of the mid- to late 20th century, associated with notable architects like Luis Barragán of Mexico and Oscar Niemeyer of Brazil, among many others. Those architects of the modern era produced spaces that would include multiple publics in a bid to rethink national identities in places like Brazil, Cuba, and Mexico. Haunted by the socio-racial and gendered hierarchies of the colonial era, modern architects strove toward utopic decolonial solutions in the built environment. We might productively place Latina/o/x architecture within those histories of the wider hemisphere, as a facet of that striving toward a decolonial future. There are political, cultural, and historical reasons, however, to study Latina/o/x architecture on its own terms. To do so requires us to critically assess the limits of categories like "Latin American" and "Latina/o/x," which are often confused, disputed, and in flux. These categories impossibly encompass huge and diverse populations. The term "Latin American" attempts to define peoples and cultures across the Spanish-, French-, and Portuguese-speaking Americas and Caribbean, while "Latina/o/x" describes members of the Latin American diaspora, particularly in the United States. Within these shifting terms of inclusion and exclusion, Latin American architecture has received notably more attention in scholarly literature, to the detriment of Latina/o/x contributions. This is, in part, because of historic discrimination faced by immigrants from Latin America in the United States and elsewhere. It also reveals a lacuna in histories of architecture more broadly, and the practice of architecture itself, which has tended to be dominated by heteronormative, white, Anglo-male norms and narratives. In the early 21st century, Latina/o/xs account for less than 10 percent of registered architects in the United States according to the American Institute of Architects (AIA). Nonetheless, with a population at nearly 40 million, Latina/o/xs are the largest minority group in the United States, projected to comprise a quarter of the population by the year 2050. The lack of representation in the field of architecture, compared to demographic realities, makes clear why the study of Latina/o/x architecture is of critical importance. The following bibliography works against social and historical factors that would ignore or erase Latina/o/xs from architectural discourse. This bibliography will focus on major works of scholarship that discuss Latina/o/xs as both users and producers of architecture. Special attention is paid to the ethnic and cultural diversity of Latina/o/x architecture, from the largest historic populations of Mexico, Puerto Rico, and Cuba to the vernacular building practices and decolonial aesthetics of an increasingly transcultural and transregional Latina/o/x population.

Multithreaded architectures now appear across the entire range of computing devices, from the highest-performing general purpose devices to low-end embedded processors. Multithreading enables a processor core to more effectively utilize its computational resources, as a stall in one thread need not cause execution resources to be idle. This enables the computer architect to maximize performance within area constraints, power constraints, or energy constraints. However, the architectural options for the processor designer or architect looking to implement multithreading are quite extensive and varied, as evidenced not only by the research literature but also by the variety of commercial implementations. This book introduces the basic concepts of multithreading, describes the a number of models of multithreading, and then develops the three classic models (coarse-grain, fine-grain, and simultaneous multithreading) in greater detail. It describes a wide variety of architectural and software design tradeoffs, as well as opportunities specific to multithreading architectures. Finally, it details a number of important commercial and academic hardware implementations of multithreading

It is Very Difficult, in Fact Impossible, to Review Properly What is in fact an incomplete work, one in which many years separate the writing and publication of the first entries from the last ones and in which so much remains to be done. My purpose, in the remarks which follow, is to identify the main policy decisions that seem to have been made in presenting the architecture of the Iranian world, to comment at some length about the success or failure of entries dealing with various categories of presentation, and, all along, to make suggestions about ways of improving access to the information that has been provided. In most cases I did not identify the names of authors, because all of them made choices as to how to interpret their assignments, and the discussion of such choices is not useful in a review at this stage. Competence in the knowledge of their field is clear for all writers, and there are only a few cases of scholars who had not kept up with information or interpretation and whose articles are lacking in substance.

Images/drawings of architecture primarily act as documentation of structures to help the audience (architects or clients) understand how architecture functions: the sense of space, physical relationship with the context, and circulation through different programs. Nevertheless, architectural images that focus not on functionally determine spaces but rather on an idea or provocation, also play a significant role in the representation of architecture. The role of architecture in these kinds of images can be beyond a shelter or accommodation. It can set up a stage to deliver messages; discuss historical, social, economic or political issues; or to express emotion or desire. Architects/artist have been using architecture images with perplexing spatial qualities as provocative, topical responses to actuality throughout history. For example, in the 18th century, Étienne-Louis Boullée sought to overthrow traditions of architectural drawings and use the drawings to celebrate the greatness of picture, the greatness satisfies human's soul and eager to extend its joys in every. In the 60s, Superstudio used a series of architecture collages to fight against market-driven architecture, and establish their goal to produce a system of infinite multiplications divisions and dimensions. Later on, Lebbeus Woods used his prominent drawings to evoke people's awareness of the provocative characteristic of architecture oppose to its retrospective presentation or documentation purpose. As a knowledge of base, this thesis project would research why and how the architects/ artists make the images in certain way to accomplish their expected effect by comparing the chosen images particularly on architects/artists' decision making on the scale of architecture pieces, not functionally determined spaces, materiality and pictorial perspective of the images and how these decisions result in different effect or affect. This thesis proposal is to call on the audiences (architects and non-professionals) to consider architecture's alternative role in architecture image beyond retrospective presentation. Also, to engage the audiences in awareness and discussion of the topical communication with the architects/artists. Based on the knowledge to set up a framework for this thesis project. What framework should be set to avoid documentation potentials of architecture? What to resist and or embrace to avoid the architecture image become functionally determined? And eventually, use this framework to produce images with speculative architecture on a ruin with potentially healing necessity as a mean to deliver personal desire of hope and joy and evoke personal responses from the audiences.

In Terminal Architecture, Martin Pawley argues that nearly all modern architecture is misconceived. To embrace a genuinely innovative architectural future would entail a radical shift in values and Pawley considers new vocabularies to achieve this aim. The vision described in Terminal Architecture is an apocalyptic one, spelling the end of architecture and the city as we know them, and cannot fail to stimulate debate. "Brilliant and beautifully written"--Jonathan Glancey, The Architects' Journal

Architecture Depends presents an original thesis that brings social theory, including that of Zygmunt Bauman and Bruno Latour, to bear on architectural theory and practice. Drawing on theories of critical pedagogy, contingency, and reflective practice, it presents a new paradigm for architectural thinking, recognised by the 2009 RIBA President's Award for Research (prize for outstanding university-based research). Reviews include Blueprint, Architects' Journal; the Times Higher Education Book of the Week; features on Nightwaves (BBC R3), Thinking Allowed (BBC R4). Publisher's text about the volume: Architecture depends — on what? On people, time, politics, ethics, mess: the real world. Architecture, Jeremy Till argues with conviction in this engaging, sometimes pugnacious book, cannot help itself; it is dependent for its very existence on things outside itself. Despite the claims of autonomy, purity, and control that architects like to make about their practice, architecture is buffeted by uncertainty and contingency. Circumstances invariably intervene to upset the architect's best-laid plans—at every stage in the process, from design through construction to occupancy. Architects, however, tend to deny this, fearing contingency and preferring to pursue perfection. With Architecture Depends, architect and critic Jeremy Till offers a proposal for rescuing architects from themselves: a way to bridge the gap between what architecture actually is and what architects want it to be. Mixing anecdote, design, social theory, and personal experience, Till's writing is always accessible, moving freely between high and low registers, much like his suggestions for architecture itself. The everyday world is a disordered mess, from which architecture has retreated — and this retreat, says Till, is deluded. Architecture must engage with the inescapable reality of the world; in that engagement is the potential for a reformulation of architectural practice. Contingency should be understood as an opportunity rather than a threat. Elvis Costello said that his songs have to work when played through the cheapest transistor radio; for Till, architecture has to work (socially, spatially) by coping with the flux and vagaries of everyday life. Architecture, he proposes, must move from a reliance on the impulsive imagination of the lone genius to a confidence in the collaborative ethical imagination, from clinging to notions of total control to an intentional acceptance of letting go.