Showing posts with label course work. Show all posts
Showing posts with label course work. Show all posts

Sunday, 3 February 2013

24JAN Diane Ghirardo: Industrial Wastelands


Architecture after Modernism, Chapter: Industrial Wastelands” by Diane Ghirardo. Thames & Hudson, Fall 1996, p. 171 - 193
Bara Safarova

Introduction:
The material to be reviewed is the introduction to the Chapter Three of the Architecture after Modernism book by Diane Ghirardo: Reconfiguring the Urban Sphere and the first of it's three parts: Industrial wastelands. The chapter is concerned with the industrial 'ruins' and social gaps left after the departure of an industry from a city. The aim of the text is to show different redevelopment approaches to varied 'industrial wastelands'. Overall the author concludes that large leftovers present large problems.
The text is insightful, the author shows various examples, categorizes them by size and industry, explains causes for the obsolescence and solutions in varying depth. The approaches are described at both political and architectural levels, which supports the argument. There are exciting yet slightly diverting moments where the author discusses the role of architects. The main argument is that small redevelopments come out as delightful and elegant, and big redevelopments result in controlled, privately owned, and detached non-cities.

Objective part:
Ghirardo starts by pointing out that in the last hundred years there has been a shift in what commissions architects take on or disdain: e.g. industrial buildings or minimalls (previously of no interest to architects, who criticized the décor of a suburban mall and failed to recognize the social needs it addressed). Today architects fight for large industrial redevelopment commissions.
She continues by explaining how today's mobile economies allow companies to move around the globe in search for cheaper labor and taxes abandoning buildings ('wastelands'). She outlines three main approaches: refurbishment for consumption, demolition for entrepreneural set up of light industries which leads to gentrification, and - the argument of the chapter - that large re-development sites present big problems.
Examples in support of the argument follow: Fiat Lingotto, a counter example: Iba at Emscher Park represents a bottom up approach. Obsolete ports form another supporting example. The main example describes in detail London Docklands.
The chapter continues with examples of urban interventions, and contrasting medium and small size office buildings, parking structures, etc. which are not part of this summary. Ghirardo comments that: “The small, individual projects … are overwhelmingly distinguished works of architecture, which are elegantly inserted into their surroundings.” The chapter ends with her main point about massive urban interventions: they result in privately controlled, socially disconnected and discriminatory spaces.

Critical part:
The reviewed part of the text is the introduction and a series of examples of large redevelopments. This is followed by parts concerning urban and small redevelopments, which further help support the main argument: large interventions result in socially irresponsible corporate non-cities.
It is helpful for the argument that Ghirardo shows how top down and bottom up approaches lead to unsatisfactory results. The majority of examples are top down methods, which perhaps reflects the ratio in reality, a table showing a list of all examples known would have supported her point to the dot. She assesses built schemes, which gives her supporting points validity. She explains the process in varying depth depending on the complexity of the project. She divides the cases into categories as follows: redevelopment into a place of consumption (Fiat), bottom up approach (Iba), the docks. She does not expand on the category mentioned in the introduction: redevelopments leading to gentrification, which is a shame.
In her first example Ghirardo explains how Fiat Lingotto left a large complex with little infrastructure and a lot of unemployment and how turning it into a center for consumption excluded the working class, did not provide much employment and the city ended up paying for the additional infrastructure after all the years of subsidizing the firm. In this example Ghirardo makes a very clear point that large firms take subsidies from cities in exchange for providing employment, but the moment they leave, there is no law that would enforce a social responsibility onto them.
Iba at Emscher Park represents a bottom up approach, where residents were involved in adapting the industrial complex. Ghirardo comments that: “These were not ideal and broad-scale programs, but actions that could be reasonably undertaken in a brief period of time.” This example makes a weaker point, however it is important to mention that there are approaches that result in socially responsible projects, which are not sustainable financially. This point would perhaps deserve more attention and elaboration, so that the author's position was clear.
Obsolete ports form another supporting example. The frequent approach is to turn them into shopping malls to make up for the loss of taxes and jobs. The example repeats the Fiat case approach. The repetition of approaches in different instances re-inforces Ghirardo's argument.
The main example is the London Docklands, where she unfolds the full history of the rise and decline of the original industry, spends time explaining the lengthy political struggles, setting up an agency responsible for the redevelopment and it's strategy to find an investor, the investor's strategy to find tenants and finally the brief role of the architect. By simply describing in detail the processes and showing the years pass by, the author manages to give the reader a real sense of how much risk and uncertainty there is in making big decisions about large areas of cities. The reader gets a fair sense of the financial rules of this kind of 'monopoly game'. The point where Ghirardo finds the main argument in the very developer's press release is a sad moment of realization for the reader and an excellent way to argue a point: “Signature architecture serves as an important instrument for two related goals: marketing office space and focusing criticism on form.” Ghirardo yet again makes a point about the fact that cities are trying to re-gain loss of revenue and employment. To do so councils try to attract large investors, in this instance by creating an 'Enterprise zones' clear of planning requirements and with tax benefits. This approach led to unbalanced relationship between the investor and the city, the enterprise zone became detached from it's 'host city' and yet again ended up catering mostly for the money-spending layer of society.
The main body of the text, where Ghirardo describes examples in support of her argument is mostly clear and somewhat marches in one specific direction. The introduction to the chapter, where Ghirardo talks about the shift (architects now take on mundane commissions and industrial redevelopment projects) is pointing towards a discussion about the role of architects. It seems that the author is blaming architects for participating in these colossal interventions. But it is not the architects who have the power to make decisions whether to build bottom up or top down or decide the program of the proposals. They are, as she find later in the press release, mere puppets in the hands of huge corporations. The parts concerning the role of architect slightly dilute otherwise well argued point.
Reading the article made me aware of the political and institutional level of decision-making, the time frame and the involvement of architects. It has yet again contributed to my opinion that architects, master-planners or other development practitioners should be involved in earlier – political stages of projects to mediate between the financial interests and the welfare of the community and the planet. 

22JAN Ghosts of Machu Picchu video

A video explaining the history of the settlement on Machu Picchu.

21JAN - Mumford & Jacobs


Lewis Mumford: What is a City ?
Jane Jacobs: The Uses of Sidewalks: Safety

Bara Safarova

Both Jane Jacobs (1916 - 2006) and Lewis Mumford (1895 – 1990) wrote about the city and what constitutes a city. They were both concerned with the quality of the cities of their times. Jacobs was a grassroot neighborhood activist, who caused near scandal when she published her book The Death and Life of Great American Cities (1961) in which she confronted the planning system and the large scale urban renewal projects of the time. Lewis Mumford was an American historian, sociologist, philosopher and literary critic who argued that those who designed the cities did not know what was the city's social function and thus created handicapped cities. Lewis in his article What is a City? travels back to Elizabethan London to find the definition of a city by 'an honest observer – not a city planner: City is where men by mutual society and companying grow to alliencies, commonalities and corporations.' He rephrases this to say that city is where primary groups (family) and secondary groups (companies, corporations, institutions) mutually economically support each other. Similarly to Jacobs, he finds that a 'social drama' is created and enacted in cities, not in rural areas. His main argument is that there is a limit to how many residences can feed on a social nuclei and that sprawl is damaging to the society.

18JAN Lina Bo Bardi - lecture by Renato Anelli

Renato Anelli: Lina Bo Bardi in the frame of Brazil
evening lecture summary

Renato explained at the beginning that he talks about Lina Bo Bardi, because he thinks there is too much emphasis on Oscar Niemeyer. 

The lecture was a chronological summary of Lina Bo Bardi's projects on the background of the history of art and architecture in Brazil. 

Lina Bo Bardi and her husband Pietro Maria Bardi lived in Italy, after the war they decided to move to Brazil to experience the 'freedom of modernity' which sprung up in Brazil after the nationalist revolution in the 30s. 
Modern paintings of the time show mountains and infrastructure in simplified geometrical shapes, emphasise the horizontality and the 'smallness' of men. The early examples of modernist architecture bear similarities with the simplicity of the visual arts. 
Lina started her career with the design of the Institute of Contemporary Art, including the visual identity, architectural magazine and furniture. The trend amongst the modernist architects was to open up buildings to the landscape and to use the interior as a display for pieces of art, furniture, often historic furniture – transparent house. 
During the 60s the idea to create a 'social Brazil' became important. Lina started designing MASP – a museum of modern art which lifts off the ground and leaves the public space underneath for everyone. 
In the 70s Lina works on stage design. 
In the 80s the post-modernism strives in Brazil, Lina distances herself from this wave, yet never criticises Oscar Niemeyer's late work. 
Lina died in 1992. 
Venice Bienale curated by Kazuyo Sejima in 2010, with a small room dedicated to Lina Bo Bardi started new interest and fascination with Lina Bo Bardi's work. 

I enjoyed the extensive use of drawings and visual arts references, which were used throughout the presentation and supported what was being said in a subtle an surprising way. It would have been interesting to compare the work of Lina Bo Bardi with what was happening in Europe at the time – Bauhaus, functionalism, Adolf Loos, etc.