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archaeological findings. Varieties of domestic forms There were six domestic forms of vernacular architecture in the Munster Plantation: town houses; tower-houses; plain and fortified manor houses; farm houses; and service buildings. 5 Town houses They certainly must have been built during this period, but there is no sharp difference between previous or later urban domestic structures. Large-scale late and post-medieval merchant houses at Kilkenny and Kilmallock suggest an
diversity of building typologies reflects the traditions and relative wealth of families. It also creates a vernacular architecture that attracts thousands of tourists to Nepal each year. The policy of only providing training for, and technically supporting, the rebuilding of stone, brick and reinforced concrete structures, excludes many other traditional and vernacular building typologies. Timber-frame and light-weight structures are inherently safer in an earthquake than masonry – excluding these traditional and vernacular building typologies is a missed opportunity to
While there is widespread agreement across disciplines that the identities of individuals, groups and places are significantly interrelated, there are equally divergent views as to the nature and origins of those relationships. The first part of the book highlights that the prime importance of the human body in spatial cognition and human perception generally. In stressing the fundamental role of the body as the medium of all personal experience, the concept of the self that emerges thus far retains a strong unitary core. An alternative theory of extended minds which retains the integrity of individual human agents while embracing the extension of personal powers by external devices is also discussed. The second part looks at the scope of inquiry to take in the wider impact of technology on human evolution and the extended self. Selected writings from some of Stiegler's prominent followers and critics were also examined for what they contribute to our understanding of Stiegler's ideas and their possible further applications. He and his followers continue to fall back upon neo-Darwinian concepts and terminologies in elaborating their ideas. Theories of emergence and self-production, or autopoiesis, are investigated as promising alternatives to orthodox evolutionary theory. The subject of design, function of memes, impacts of the coevolution of humankind and technology on the human mind and the self are some other concepts discussed. The third part of the book focuses talk about cognitive roots of classification and combinativity, the relations between form and content, and vernacular architecture.
Jim Richards thought that architects should be anonymous experts who served their communities, not ‘giants’ designing buildings to express their own individual creativity. He pursued this idea throughout his forty-year career as an architectural critic, journalist and editor. This book traces Richards’s ideas about anonymity and public participation in modern architecture and how they weathered the changing contexts of architecture in the mid-twentieth century. This is a story of shifting relationships between the architectural profession, public audiences and the media. The Architectural Review (AR) was first published in 1896 and by the 1930s was closely aligned with modern architecture. James Maude Richards (Jim to his friends) was the longest serving editor of the AR working from 1935 to 1971, with colleagues including Hubert de Cronin Hastings, Nikolaus Pevsner, Hugh Casson and Reyner Banham. Richards developed a specific approach to architectural criticism, which was based on promoting architecture to a public audience. He used criticism as a bridge between architects and their patrons and users. This book explores the changes and continuities in Richards’s work in the context of broader cultural shifts between experts and the public during this period. This is a history of modern architecture told through magazine articles, radio broadcasts and exhibitions, rather than buildings. Richards’s career and his position among a network of journalists, architects and artists, shows the centrality of media and promotion to architecture. It also shows how ideas about public participation, vernacular design and popular culture were key to defining modern architecture.
experience of urban space in the process. Some further impacts on the building types involved were briefly discussed, together with some of the social implications indicative of their contingent effects. The coevolution of the three elements in turn provides plentiful evidence of autopoietic systems at work, the self-producing conditions of which have been sustained in modern times by the ever-growing expansion of low-density suburbs. Widening the range of examples of fluid relations between building form and content, Chapter 9 argued that the evolution of vernacular
black-and-white idiom of vernacular architecture. Some of the iterations were meant to be ‘deliberately absurd’ (bottom right image) to show what happened when style was applied according to ‘general convention’ rather than according to specialised architectural use. However, other iterations were intended to show how the idiom could be adapted to ‘conform with the modern architect's attitude to form and structure’. Richards was showing the potential aesthetic compatibility of modern buildings and vernacular idioms in Britain. These illustrations articulated Richards
from different periods and locations around the world, from vernacular architecture and the hybridization of imported and local forms, through to urban typologies like the ‘colonial city.’ This leads on to an exposition of related theories of combinatorial innovation and design, from the 173 EXSELF.indb 173 30/07/2014 13:39:22 ‘metaphorical’ theories of creativity advanced by several writers in the last century, to Brian Arthur’s combinatorial theory of technological evolution, supported by his own and other examples. Taking a prominent feature of modern cities
established’. Population has increased, houses in distinctive vernacular architecture style have been restored or built anew, cultural and artistic activities are held in the newly established public spaces, small businesses are developing and streets and rivers are free from trash and pollution. Meanwhile, its unspoiled natural setting and distinctive cultural landscape have
difference between these two awards signalled the differences between Richards's and Hastings's careers. Richards's work had always addressed architecture's relationship with audiences and groups beyond the profession, while Hastings's preoccupation was with the magazine's relationship to architecture and its service of the profession. After he retired from the Architectural Press Richards continued to write about architecture, publishing books on the vernacular architecture of Finland and India. He remained preoccupied with vernacular architecture, which he felt captured
Taylor has expressed it, his life-long interest in landscape history has ‘necessitated working with a variety of scholars in many disciplines, including archaeology, geography, geology, botany, vernacular architecture and art history’, although he much regretted ‘an increasing number of publications on landscape history involving modernism, structuralism, phenomenology, retrogressive analysis and so on’.28 A journal, Landscape Studies, was founded in 1970, to bring together the practitioners of the subject, archaeological, architectural, and historical. A second