Suchergebnisse

Begrebet 'sygehus' anvendes i dag om det offentlige rum, hvor syge undersøges og behandles. Men at være syg og indlagt på et sygehus handler ofte ikke kun om at blive rask ved hjælp af medicinsk behandling eller kirurgiske indgreb, men også om velvære og omsorg i form af sygepleje og måltider; om det 'sygdommens rum', der skabes omkring patientens samlede helbredelse. I denne artikel vil vi argumentere for, at 'sygdommens rum' i højere grad udbredes til også at omfatte arkitekturen – selve huset, der indrammer det hele– og vi vil, på baggrund af projektet MORE, fokusere på koblingen mellem sygdom, måltider og arkitektur. Metodisk tager vi afsæt i den tyske arkitekt Gottfried Sempers teori omkring arkitekturens grundelementer, der tilbage i midten af det 19. århundrede var med til at danne grundlaget for det, der i dag er den moderne arkitekturteoris definition af 'rummet' som oplevet fænomen. På baggrund af Sempers teoretiske forståelsesramme og med udgangspunkt i en måltidsbeskrivelse fra renæssancehospitalet Santa Maria Nuova, vil vi give ét eksempel på, hvordan spiserummets arkitektur udgjorde en essentiel del af 'sygdommens rum' gennem en bevidst iscenesættelse af måltidets ritualer sammen med de lægelige og religiøse handlinger. Omend scenariet forekommer teatralsk i vore dage, så mener vi, at denne historiske beskrivelse kan bidrage til nutidens forståelse af 'sygdommens rum' og indretningen af hospitalsarkitekturen.Med denne artikel ønsker vi således at argumentere for, at spiserummets arkitektur i højere grad bør være et fokuselement i debatten om fremtidens sygehuse og ikke mindst i forskning relateret til 'sygdommens rum'.

During the 1970's, dissatisfaction with Brussels' urban development was voiced by a series of counter-projects set up by the Atelier de Recherche et d'Action Urbaines (ARAU), which managed to garner public support and even to prevent some planned projects. The architecture institute La Cambre, which by then had turned towards a socially engaged pedagogy, served as an intellectual breeding ground and as a reservoir of image-producing students. As history was the source of inspiration for ARAU's counterproposals, the Archives d'Architecture Moderne (AAM) also played a crucial role in their success by generating a fast pace of exhibitions and a steady flow of publications. By the mid-70's, these three institutions – ARAU, La Cambre and AAM – formed a mutually supporting triumvirate, with Maurice Culot as the pivotal figure, leaving its impact on Brussels. "Nous ne laisserons pas à la droite bourgeoise le monopole du passéisme" – 1977. These words by Culot in the journal of AAM illustrate ARAU's well-known mobilization of history in their counter-projects (Doucet 2013), but also entail the search for a socialist architecture rooted in their Western condition, as well as a positioning towards architecture in socialist countries. This paper aims to trace this implicit positioning by means of AAM's (traveling) exhibitions and publishing activities: a 1975 reinterpretation of the Italian Architettura Razionale exhibition, a 1976 discussion between Culot and Léon Krier on the form of socialist architecture and a 1977 episode of interest in the Soviet avant-garde of the 1920's. This paper's overview reveals how this group from La Cambre looked to the east (often via the south: via editors like Éditions l'Âge d'Homme in Switzerland), recuperating ideas and mobilizing them to legitimize their view on history – one rooted in local tradition and local people – and thus trying to defend a conservative historicist architecture from the left side of the political spectrum. ; QC 20200921

Gernot Böhme proposes the concept of atmosphere as the basic concept of a new aesthetics without a point of departure in art. This article speculates on some possible urban implications of this concept. To start with, I present various ontological and epistemological aspects of the concept and specify some atmospheric dimensions of art and architecture. Then, I discuss Georg Simmel's concept of landscape, which seems to refuse the presence of atmosphere in the metropolis, as an overture to the next section on urban atmospheres. Urban atmospheres are multi-sensorial and demonstrate considerable variation from densely built inner-city areas to the modern spaces of urban sprawl. Mobility is a significant factor in relation to modern urban regions, the atmosphere of which might be thought of as a picturesque landscape for cyborgs. Urban communities may be of a primarily atmospheric kind. The historical city may have an atmosphere of age that can be sensed without much historical knowledge, and atmosphere may be the source of urban political struggle. Finally, I examine the atmospheres of the urban center and the urban region with a focus on Dag Østerberg's recent work on Oslo, arguing that atmospheric aspects of the socio-material action fields within the urban region may modify Østerberg's conclusions regarding the imaginary status of the center and the urban identity of the region. The pivotal argument of the article is that atmosphere is an important but overlooked dimension of both human relations in urban environments and the relationship between the human and the built environment. ; Gernot Böhme proposes the concept of atmosphere as the basic concept of a new aesthetics without a point of departure in art. This article speculates on some possible urban implications of this concept. To start with, I present various ontological and epistemological aspects of the concept and specify some atmospheric dimensions of art and architecture. Then, I discuss Georg Simmel's concept of landscape, which seems to refuse the presence of atmosphere in the metropolis, as an overture to the next section on urban atmospheres. Urban atmospheres are multi-sensorial and demonstrate considerable variation from densely built inner-city areas to the modern spaces of urban sprawl. Mobility is a significant factor in relation to modern urban regions, the atmosphere of which might be thought of as a picturesque landscape for cyborgs. Urban communities may be of a primarily atmospheric kind. The historical city may have an atmosphere of age that can be sensed without much historical knowledge, and atmosphere may be the source of urban political struggle. Finally, I examine the atmospheres of the urban center and the urban region with a focus on Dag Østerberg's recent work on Oslo, arguing that atmospheric aspects of the socio-material action fields within the urban region may modify Østerberg's conclusions regarding the imaginary status of the center and the urban identity of the region. The pivotal argument of the article is that atmosphere is an important but overlooked dimension of both human relations in urban environments and the relationship between the human and the built environment.