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AbstractThis paper explores the role of the aesthetics in Group Decision and Negotiation (GDN) practice, specifically how it affects the methods and the cognitive processes in the architectural field. We intend aesthetics as"scientia cognitionis sensitivæ", a particular process and way of knowing and experiencing the problem through senses, imagination and empathy. We argue that (a) aesthetics and aesthetic features can (and do) convey knowledge about the problem; (b) we can distinguish between two kinds of aesthetics, one of the process and one of the product and (c) the aesthetics can contribute to create a "plural subject". The issue is investigated through a decision problem about the transformation of an iconic building in the centre of Turin (Italy), in two ways: (1) by merging the Strategic Choice Approach (SCA) with architectural design and (2) by approaching the same issue with Storytelling, as a method for problem-based instruction. Considering the aesthetics as a specific form of language, the paper offers innovative considerations about the role of representation and visualisation tools and models—drawing, scheme, diagrams, but also video and text—as support for group decisions and negotiations, in the construction of knowledge within decisional processes.

In Ruang we address issues of form and urban space, leaving the economists to ponder the larger issues of democracy and equality in a rapidly fracturing social environment. This raises the problematic of urban form, its representations, symbolism and practices. The conservation of traditional values and norms imply the conservation of those environments that support them. Since conservation means retaining building form without its prior content, the actual fabric and processes of urban conservation are also thrown into the market place. Conservation on any scale also threatens the urban land market since large areas are then removed from trading (or is all history up for sale?) So do we proceed with adaptation, regulated change, conservation or sterilisation (preservation)? Today the identity of a place is not merely about localities, but is, in many occasions, more about image making to support the creation of a modern urban living environment. Over the last forty years, the use of iconic buildings to generate capital has become more and more frequent, from Sydney Opera House and the Pompidou Centre, to the new Guggenheim Bilbao. These are iconic structures whose prime function is not to give identity to neighbourhoods, but to source capital through tourism and to boost local industry. Here there is a crossover from high technology to local icons. For example Frank Gehry used technology from the American space program to design shapes and forms, as well as technology focussed on the properties of materials. But such buildings fall again into the arena of capital rather than community development. So what is happening on the other side of the coin? There is no doubt that social change is also accelerating in many countries and it is also clear that where we cannot hold capital accumulation and globalisation accountable for many adaptations from gender equality, new housing forms based on the disintegration of the nuclear family, the idea of a universal wage to counter automation, the generation of new ...

The introduction of the Green Deal provides evidence of the UK Government's commitment to improving the energy efficiency of our ageing and underperforming housing stock. However, the issue of what to do with those buildings which for reasons of historical or architectural significance do not lend themselves to conventional fabric interventions has not been addressed fully. A residents' survey was conducted at the Grade II listed Barbican Centre in London, to characterise levels of occupant comfort and satisfaction, to identify any problems experienced by the residents, and to explore possibilities to improve the energy performance of the estate without compromising its status as an iconic example of post-war architecture and planning. This paper explores how occupant feedback surveys can inform the development of energy-saving interventions at an atypical case study site.

Jakarta is the center of business and government in Indonesian Republic that have population density about 15.000 citizen per kilometer. Jakarta have many major problem like different political view, high population density, traffic jam, increase of waste product, air population, etc. "Surat Untuk Jakarta" Animation short is about condition in Jakarta from day to night. For about two minutes, the winner of the Best Animation Category in Festival Film Indonesia show us about the architecture in Jakarta in exquisites 2D animation media. Despite of the success for gaining many award like "Best Picture Hellofest 2016", this film just show the sequence of Jakarta. We can see the iconic building like Monumen National, Dirgantara Statue, Istiqlal Mosque, etc. But the problem is, there is no narrator that tell us what's going on there. The shot change to another shot, but just segmented people that know the meaning and message of this film. This research purpose is to analyze the meaning and message of "Surat Untuk Jakarta" with semiotic metodolgy. The conclusion of this research is with visual element that have no narrator makes the meaning and the responds to target audience ineffective. The conclusion we have is this film is about the complexity of Jakarta, there are too many social gap in Jakarta, and we still need more pluralism in this city.

I have been in exile for a long time, and I was amazed at the resilience, intelligence, strength and ability of the Afghan women that I met who came from inside the country and around the world. These women, I promise, can rebuild the country with no problem.1 In this paper I propose to examine the role played by women in post-conflict scenarios, especially with regards to peace-keeping and nation building. I would like to begin with a general statement about the important and equal role of women in society, a principle which is enshrined in both international human rights documents such as the Universal Declaration of Human Rights and the International Covenant on Civil and Political Rights. It is also a principle that is accepted by the major religions, including Islam. The proposed title of the paper takes its inspiration from the following quote: Few policymakers responsible for nation-building would argue against the ultimate goal of establishing equitable, democratic and egalitarian societies in which the human rights of women are respected. Many however, express the fear that pursuing that goal "too soon" may rock the boat, and that in dealing with a boat so shaky that it may capsize anyway, you just can't take the risk. (Bernard et al, 2008: 3) This paper seeks to determine what role women should play in postconflict scenarios, without "capsizing the boat". It questions to what degree women's involvement must be postponed in order to first "stabilize the situation". Some would argue that given the various advantages in women's involvement sooner rather than later, that their involvement ought not to be postponed.1 The paper will particularly draw upon the involvement of women in Afghanistan. However, Afghanistan itself provides examples of the danger and difficulty of promoting women's involvement in nation-building. For example, as recently as Sunday 29th September 2008 it was reported that an iconic Afghan policewoman, Malalai Kakar, had been shot and killed, and that the Taliban had claimed responsibility for her death.2 This was not the first instance of a woman in Afghanistan's post-2001 police force being directly targeted for assassination. The question these incidents raise is whether an emphasis on promoting the participation of women in the Afghani police-force is premature: is this an example of "rocking the boat" or is this all part and parcel of nation-building? The proposed broad outline for the paper is as follows: Introduction and basic premises: The equality of women and the role of women in society: general legal, social and religious principles; Women and nation-building: definitions, general principles, international documents and statistics; Afghanistan: processes and problems – historical context and modern issues; Conclusion: recommendations for Afghanistan in particular and for women in nation-building in a more general sense.

In the American West, wildfires and earthquakes are increasingly threatening the archaeological, historical, and tribal resources that define the collective identity and connection with the past for millions of Americans. The loss of said resources diminishes societal understanding of the role cultural heritage plays in shaping our present and future. This paper examines the viability of employing stationary and SLAM-based terrestrial laser scanning, close-range photogrammetry, automated surface change detection, GIS, and WebGL visualization techniques to enhance the preservation of cultural resources in California. Our datafication approach combines multi-temporal remote sensing monitoring of historic features with legacy data and collaborative visualization to document and evaluate how environmental threats affect built heritage. We tested our methodology in response to recent environmental threats from wildfire and earthquakes at Bodie, an iconic Gold Rush-era boom town located on the California and Nevada border. Our multi-scale results show that the proposed approach effectively integrates highly accurate 3D snapshots of Bodie's historic buildings before/after disturbance, or post-restoration, with surface change detection and online collaborative visualization of 3D geospatial data to monitor and preserve important cultural resources at the site. This study concludes that the proposed workflow enhances the monitoring of at-risk California's cultural heritage and makes a call to action to employ remote sensing as a pathway to advanced planning. ; This research was funded by the California Department of Parks and Recreation via Work Order #13-203732-00 and supplement Work Order #13-203732-00R3, by the Resources Legacy Fund, California State Parks Initiative (RLF Grant #2013-0387), and by the University of California Office of the President via a CITRIS Seed Grant 2016. The APC was funded by the University of California, Merced. Arianna Campiani's research was funded by the European Union's Horizon 2020 ...

In this urgent decade when American democracy faces the challenge of decarbonizing the U.S. electric grid and assuring that the economic benefits of our energy transition are equitably shared, many solar energy researchers and activists are searching for new ways to partner with the civic sector. Instead of treating energy users as passive customers, experts understand the importance of engaging community as active decision-makers, beneficiaries, and communicators for a just energy transition. Distributed solar technology offers more democratic potential than small savings on individuals' electric bills. Energy experts working on the Solar CommonsÔ community solar model at the University of Minnesota are piloting demonstration projects with community partners in Arizona and Minnesota. These solar commons aggregate savings through power purchase agreements that create 25-year peer-governed revenue streams to support mutual aid and reparative justice work in neighborhoods. This article describes a Solar Commons research project in Arizona, with a conversation among the public artists who partnered with the legal research team to co-create communication and peer governance tools that will allow DIY Solar Commons to iterate throughout the US as a new institution in our civic sector. Images of the Solar Commons public art demonstrate how the artists helped expand the vision of solar energy from the iconic individual solar panel to a technology embedded in community justice and in a complex human-more-than-human environment.

Thanks to several foundational contributions (De Angelis 2010; Hardt and Negri 2009; Harvey 2012; Ostrom 1990), the topic of urban commons has recently gained much interest, as indicated by a number of publications and international conferences (Dellenbaugh et al., 2015). While these have variously analysed the topic in relationship to its fundamental elements, this paper further investigates the relationship between urban commons and planning and local governance processes (Muller 2015). On 5 May 2012, the artists' collective M^C^O (henceforth Macao) drew public attention to the massive number of unused and vacant spaces in Milan by squatting in the iconic Galfa Tower, a private property that had been abandoned since 1996. This event, recalling ideals and actions of the social centres that flourished during the 1980s and 1990s in Italy, represented the first public manifestation of the complex and hidden scenarios of the social movements animating the cultural life of Milan. Due to their intimate awareness of urban spaces (Molinari 2012), these artist-led informal initiatives have been able to stand opposite to globally oriented political choices and could thus be interpreted as symbols of community values and local resistance. Symbolically, squatting in the Galfa Tower served to shine a light on the need for a radical change in urban policies regarding the reuse of the massive patrimony of abandoned sites in towns, which could accommodate un-revealed spatial and social needs (Valli 2015). Unlike the current planning tools and practices adopted by the City Council of Milan (Oliva 2001), Macao's activists developed and proposed the Constituent City manifesto (Macao 2015), which sought to guarantee that vacant and abandoned properties within metropolitan Milan, whether privately or publicly owned, could be directly managed by self-organised groups of citizens. In their alternative proposal, the Macao activists were striving for the possibility for these self-organised communities to manage the available spaces for non-profit purposes through public assemblies. Starting from these premises, the paper interrogates the issue of how urban commoning can challenge conventional planning procedures. Using a case study of the former Slaughterhouse Exchange Building (henceforth SEB) in Milan, also squatted in the by Macao movement, the paper seeks to identify the mutual influences between commoning practices, local governance and planning policies. Drawing on these insights, we conclude by offering a reflection on the roles that commoning practices may have in defining innovative governance and planning processes.

Abstract. As we know, Surabaya occupies the second position as a city that has the most populous vehicle volume after Jakarta. Lack of public transportation services makes people choose to use private vehicles and even online transportation which of course will just cause traffic jams. Some things that make people less use public transportation include low levels of comfort, safety, punctuality, and discipline in driving, as well as inadequate transportation. Congestion is triggered by the increasing number of vehicles and is not comparable with the development of existing infrastructure. Of the many problems that have arisen, the central government and regional governments plan for an adequate and mass-based transportation infrastructure namely LRT (Light Rail Transit) that is able to transport passengers in large numbers, fast, and rail-based that is able to give the impression of being safe, comfortable, and clean. Comfort for passengers is not only when riding the LRT train, but at the station. The station is made as comfortable as possible so that it can attract visitors to prefer using public transportation rather than private vehicles or online transportation by providing facilities in the form of commercial areas and other supporting facilities. Macro concept on LRT Station design carries a concept of "Transit in Leisure" and "Iconic". This concept was raised so that visitors feel comfortable when using public transportation such as LRT. So, it can attract the interest of the public to want to move transportation facilities from private transportation and online transportation to public transportation. With the existence of several supporting facilities, it is expected to be a special attraction for the transportation user community. Of course this is done to attract the interest of people in all circles to use public transportation such as LRT. The facilities provided are the presence of green open space, retail, cafeteria, food court, health and spa, playground, and roof garden. This is expected to be able to change the mindset of station users where usually people who are mobile are always as if being chased by time so they feel pressured. With the facilities mentioned above, it is hoped that users can enjoy their mobility more. Creating LRT Station building design with elevated station characteristics requires the main structure that can be used to prioritize reinforcement and sturdiness in LRT Station buildings that are attractively packaged and make LRT Station buildings an icon in Surbaya City is an embodiment of a form to display something new and different from other buildings, but still pay attention to the surrounding environment. So the building has its own charm and becomes a local icon in Surabaya.Keywords: Intermodal Station LRT (Light Rail Transit), Local Icon, Transit In Leisure, Iconic, post modern architecture Abstrak. Seperti yg kita tau, Surabaya menduduki posisi kedua sebagai kota yang memiliki volume kendaraan terpadat setelah Jakarta. Kurangnya layanan transportasi umum membuat masyarakat memilih menggunakan kendaraan pribadi bahkan transportasi online yang tentunya sama saja akan menimbulkan kemacetan. Beberapa hal yang membuat masyarakat kurang menggunakan kendaraan umum antara lain rendahnya tingkat kenyamanan, keamanan, ketepatan waktu, dan kedisiplinan dalam berkendara, serta transporasi yang ada belum memadai. Kemacetan dipicu dengan jumlah kendaraan yang semakin meningkat dan tidak sebanding dengan pembangunan infrastruktur yang ada. Dari banyaknya permasalah yang muncul, pemerintah pusat dan pemerintah daerah merencanakan adanya infrastruktur transportasi yang memadai dan berbasis massal yaitu LRT (Light Rail Transit) yang mampu mengangkut penumpang dalam jumlah yang banyak, cepat, dan berbasis rel yang mampu memberikan kesan aman, nyaman, dan bersih. Kenyaman bagi para penumpang tidak hanya saat menaiki kereta LRT saja, namun pada stasiun. Stasiun dibuat senyaman mungkin sehingga mampu menarik minat pengunjung untuk lebih memilih menggunakan transportasi umum daripada kendaraan pribadi atau transportasi online dengan menyediakan fasillitas berupa area komersil dan fasilitas penunjang lainnya. Konsep makro pada desain Stasiun LRT mengusung sebuah konsep "Transit In Leisure" dan "Iconic". Konsep ini diangkat agar para pengunjung merasa nyaman saat menggunakan transportasi umum seperti LRT. Sehingga, dapat menarik minat masyarakat untuk mau berpindah sarana transportasi dari transportasi pribadi dan transportasi online ke transportasi umum. Instalasi beberapa fasilitas penunjang diharapkan dapat menjadi daya tarik tersendiri bagi masyarakat pengguna transportasi. Tentunya hal ini dilakukan untuk menarik minat masyarakat dalam semua kalangan agar menggunakan transportasi umum seperti LRT. Fasilitas yang disediakan yaitu adanya fasilitas ruang terbuka hijau, retail, cafeteria, food court, helat and spa, taman bermain, dan roof garden. Hal ini diharapkan mampu merubah pola pikir pengguna stasiun dimana biasanya orang yang bermobilitas selalu seakan-akan dikejar oleh waktu sehingga merasa tertekan. Dengan adanya fasilitas-fasilitas yang telah disebutkan diatas, diharapkan pengguna dapat lebih menikmati mobilitas mereka. Menciptakan desain bangunan Stasiun LRT dengan memiliki karakteristik stasiun layang membutuhkan struktur utama yang mampu digunakan untuk mengutamakan perkuatan dan kekokohan pada bangunan Stasiun LRT yang dikemas secara menarik dan menjadikan bangunan Stasiun LRT menjadi icon di Kota Surbaya merupakan perwujudan bentuk untuk menampilkan sesuatu yang baru dan berbeda dari bagunan lainnya, namun tetap memperhatikan lingkungan sekitarnya. Sehingga bangunan memiliki daya tarik sendiri dan menjadi local icon di Surabaya. Kata Kunci: Stasiun Intermoda LRT (Light Rail Transit), Local Icon, Transit In Leisure, Iconic, Arsitektur Post Modern

Artworks are interpretations of a region's culture and environment, as well as its identity. A region has a culture that is widely viewed will lead to customs that become guidelines for society in a community, so that differences become the hallmark of a custom without a dispute. This research uses a grounded theory research design to collect qualitative data. This research design was chosen because grounded theory is a qualitative method that enables you to study a particular phenomenon or process and discover new theories that are based on the collection and analysis of real world data. Motifs from a region are one of them. In Bima culture, classic decorative motifs usually consist of geometric types and types of flora without any motifs of living things other than plants. This research uses grounded theory to collect qualitative research data. The meaning of this Nggusu Waru motif consists of; Maja Labo Dahu means shame as well as fear; Bae Ade means having a sensitive soul; Mbani Labo Disa means having the courage to be angry; Lembo Ade means being patient; Nggahi Rawi Pahu means where words match actions; Taho Hidi means having a balanced life; Wara Di Woha Dou means being able to be in the middle of society; Ntau Ro Wara The Nggusu Waru motif has a deep philosophy for the people of Bima, apart from being a life guide in terms of meaning, this motif is also found in several architectural styles in important and iconic buildings in Bima to date.

Architecture built in materials colloquially named 'natural' represents one of the most autonomous and most iconic branches of building practices with high ecological considerations (i.e. 'green building'). However, specific character of this architecture, its broad, consistent and coherent approach has seldom been assessed. This research pinpoints broadest conceptual, social and political positions of Natural Building movement – an informal movement. Conditions are determined in which these positions have been formed, together with reasons for which these practices have been ignored in scopes of dominant architectural discourses. Special attention is given to cultural and geographical origins (North America's northwestern coast and its high arid continental Southwest), to integration of ethical, esthetical and lived experience, and finally to transformations of specialization, authorship and division of labour. Closing parts of the paper also offer examination and illustration of general range of explored phenomena. For this aim two specific architectural approaches are analyzed: Oregon Cob and Earthship, as well as findings and illustrations from construction of small experimental building constructed by the author in Bosnia and Herzegovina. ; Arhitektura materijala kolokvijalno nazivanih "prirodnim", u okviru opšte scene ekološke arhitekture, predstavlja jednu od grana sa posebnim stepenom konceptualne autonomnosti i upečatljivim vizuelnim identitetom. Ipak, rijetko se ispituje specifični karakter ove arhitekture, kao što se rijetko provjerava i široki, dosljedni i istrajni pristup koji ju oblikuje. Ovo istraživanje određuje najšire konceptualne, društvene i političke pozicije neformalnog pokreta "prirodnog građenja". Provjeravaju se uslovi u kojima su te pozicije formirane, kao i razlozi za njihovo ignorisanje u okvirima dominantnih arhitektonskih diskursa. Posebno se ispituju kulturno i geografsko porijeklo (sjeverozapadna obala Sjeverne Amerike i visoke aridne oblasti kontinentalnog jugozapada istog ...

The 20th century was a period in the history of humanity that was marked by numerous technological advances, many discoveries and achievements in terms of knowledge, science and the arts, as well as numerous changes and political restructuring. In the Human Sciences, especially in Philosophy, new concepts and thoughts that marked and conquered the opinions of the intellectuals of that time emerged. One of these new concepts was the "Deconstruction" around the 60s of that century. The term "Deconstruction" was used for the first time by the philosopher Jacques Derrida in his work "De Grammatologie" in 1967. Deconstructivist Architecture emerged in the 80s of the 20th century. Deconstruction had as the main intention the rediscovery of new values, through the contrast of concepts, and the suppression of Modernism. Architecture was no exception, because new thoughts, styles, movements and new constructive techniques arose, which produced and caused a (re)affirmation of Architecture in society, through the implementation of new configurations and modern spatial conceptions. "Deconstruction", as an architectural movement, arose from the fusion of the Russian Constructivism and other movements related to the philosophical concept of "Deconstruction" presented by Jacques Derrida. But it is the 1988 exhibition "Deconstructivist Architecture" organized by Marc Wigley and Philip Johnson at the Museum of Modern Art (MoMA), in New York, that acknowledges Deconstruction in Architecture. Frank Gehry, Peter Eisenman, Daniel Libeskind, Rem Koolhaas, Zaha Hadid, Coop Himmelb(l)au, and Bernard Tschumi were the avant-garde architects featured in this exhibition. On the 25th anniversary of the exhibition, MoMA curator Barry Bergdoll hosted "Deconstructivism: Retrospective Views and Actuality", which traced the subsequent careers of that seven architects to examine the impact of the exhibition and the changes in architecture in those 25 years. This paper identifies the Deconstruction concepts that were the basis of deconstructivist architecture but keeping in mind that Iconic deconstructivist architects were not committed completely to all concepts of this philosophy as they produced their architectural objects. Two iconic buildings as Peter Eisenman's City of Culture outside Santiago de Compostela (Spain) and Frank Gehry's Guggenheim Museum Bilbao (Spain) are presented to achieve the debate. ; info:eu-repo/semantics/publishedVersion

In 1948, the Viennese city councilor in charge of cultural affairs commissioned a painting of the legendary Austrian football team of the early 1930s, the so-called "Wunderteam." Paul Meissner, the creator of the painting, chose to depict the team entering the pitch at Stamford Bridge football ground in London in 1932. Even though it was not publicly accessible for decades, the painting achieved the status of an iconic image in Austria's collective memory. Seeking to understand why particularly this group portrait gained such prominence, the article pursues a set of questions. First it looks at the event itself and analyses the contemporary visual media coverage of the game. In a second step, it discusses the painting, its composition, and what it reveals about the political agenda postwar Austria sought to set.

Eco-Towers introduces readers to groundbreaking designs, most progressive projects, and innovative ways of thinking about a new generation of green skyscrapers that could provide solutions to crises the world faces today including climate change, depleting resources, deteriorating ecology, population increase, decreasing food supply, urban heat island effect, pollution, deforestation, and more. The book suggests that the eco-tower culminates the cultural and technological evolutions of the 21st century by building and improving on the experiences of earlier designs of skyscrapers and philosophies particularly green, sustainable, and ecological. It argues that the true green skyscraper is the one that engages successfully with its larger urban context by establishing symbiotic relationships with the social, economic, and environmental aspects. Since tall buildings are becoming larger and taller, serving greater number of people, and exerting higher demand on the environment and existing infrastructure, any improvements in their design and construction will significantly enhance urban conditions. The book elucidates how green skyscrapers better serve tenants, mitigate environmental impacts, and improve integration with the city infrastructure. It explains how skyscrapers' long life cycle offers the greatest justifications for recycling precious resources, and makes it a worthwhile to employ green features in constructing new skyscrapers and retrofitting existing ones. Subsequently, the book explores new designs that are employing cutting-edge green technologies at a grand scale including water-saving technologies, solar panels, helical wind turbines, sunlight-sensing LED lights, rainwater catchment systems, graywater and blackwater recycling systems, seawater-powered air conditioning, and the like. In the future, new building materials and smart technologies will continue to offer innovative design approaches to sustainable tall buildings with new aesthetics, referred to as "eco-iconic" --Back cover

Danny Hoffman uses the ruins of four iconic modernist buildings in Monrovia, Liberia as a way to explore the relationship between the built environment and political imagination, showing how these former symbols of modernist nation building transformed into representations of the challenges that Monrovia's residents face.