Figure ground relationship architecture colleges

Figureground - Hospitable Figure | Australian Design Review

figure ground relationship architecture colleges

The notion of figure/ground, or how one part of a plan related to what was surrounding it, was complicated by the operation of figure/ground reversal. processes, architecture should be understood as a . 3: Figure-ground reversal of Wiesbaden, Germany. .. Her graphic studies - conducted in Hadar, Israel. Luis Diaz, 17yrs of study, 13yrs of practice and 22yrs teaching it As such, what the figure-ground is revealing is the relationships between public and private.

Abandoning the charade of Lissa as Act 1 closes, Morse immediately expropriates from Snelgrave the role of director, which is to say the role of household head, arranger of household activities, and instigator of plot exposition.

The dynamic instantiated by touch is ambiguous, because reversible: Humans crave tactility and yet are frightened of it exactly for this reason: As Shildrick writes in Embodying the Monster, touch is "the very thing that signals potential danger in a specular economy that privileges separation" ; touch is the thing, in other words, that really risks bringing the house down.

Had it not been a plague year, he could have thrown her out of the house and locked the door behind her. In spite of its seeming utopic potential, however, this intimate moment cannot erase the class and gender differences that mediate it.

Bunce remains the press-ganged sailor and sometime servant who narrates his hardship even as he brings his mistress to orgasm; Darcy remains the upper-class woman, mindful of the limits placed on her self-expression, who can barely speak her pleasure It is not enough for the scene to articulate the tricky power dynamic between Darcy and Bunce she as mistress, he as man; he as servant, she as womanto leave it suspended in the moment of encounter.

Darcy confesses she does not know how to do that. For Snelgrave, this confession becomes another excuse to abject Darcy, but Morse asks earnestly why Darcy may not learn to give her lover pleasure She then explicitly inhabits her stealth role of director for the first time in the play: She moves and controls the scene like a seasoned pro, and her direction allows Darcy to find and articulate the sexual power her strict gender coding has long repressed and her burned body has long obscured.

It momentarily refigures the violence implicit in sexual taking, in the social and sexual hierarchies of seventeenth-century England and, for that matter, twenty-first-century North America. Touching replaces taking, asking replaces demanding, discovering replaces knowing. Differences between become the conduit to a momentary, pleasurable, and absolutely necessary intimacy.

Art made of bodies—messy, interconnected, experimenting—performance reminds architecture of everything it embeds and forgets in the drive to produce the clean, white surface, the smooth and sexy glass wall, the line between you and me, the vista on the world that empowers the eye and leaves the flesh behind. Figures of radical performance like Nanabush, Beatrice Joanna, and Morse remind us not only of the power of the theatre to push us toward new and more equitable relations between bodies and subjects, but also of the power of those relations to unmake the strict divisional paradigms that structure our experience of the world as both metaphorical and literal space—as space built in both theory and practice.

An interview with Figureground Architects

Architecture dreams a clean dream, but embeds the power of the messy, miraculous, intersubjective body; performance, as the unabashed art of that body, embeds the radical power of a rebellious, remembering architecture. To think performance and architecture theory and practice one through the other is to harness the power of the labouring, sexual, desiring body in "chiasmatic" connection with another labouring, sexual, desiring body as a model for reshaping the physical, psychic, and political dimensions of our world.

Works Cited Alberti, Leon Battista. On the Art of Building in Ten Books.


The Poetics of Space. Diana Agrest et al. Architecture and the Text: The S crypts of Joyce and Piranesi. Ric Knowles, Joanne Tompkins, and W. Essays on Feminism and Theatre. Architecture from the Outside. Dry Lips Oughta Move to Kapuskasing. Architecture and the Burdens of Linearity. Sketch for a Felicity Within History. Theatre in the Academy from Philology to Performativity. An Essay on Abjection. The Four Fundamental Concepts of Psychoanalysis: Writing the Body of Architecture.

Middleton, Thomas, and William Rowley. The Histories of TDR. Encounters With the Vulnerable Self. University College, University of Toronto. Irene Eynat-Confino and Eva Sormova. Prague Theatre Institute, Ferguson, Maureen Quilligan, and Nancy J. U of Chicago P, The Ten Books on Architecture. In the Heart of America and Other Plays.

  • The hidden ways that architecture affects how you feel

Strategies in Architectural Thinking. The Housing of Gender.

figure ground relationship architecture colleges

Princeton Architectural P, Notes 1 An earlier version of this paper was presented at the conference held by the Association for Canadian Theatre Research. It was awarded the Robert G. Lawrence Emerging Scholar Prize.

Figure-ground diagram

This episode reminds me both of the old superstition that "a bird in the house means a death in the house" immortalized by Margaret Laurence in her short story collection A Bird in the Houseas well as of old spells and protective charms, the ancient ritual of placing beloved or meaningful objects in the mouths, hands, or caskets of the dead. Morse is both a consummate performer and a ritual-maker in this scene, and her work throughout the play relies on a heady combination of acting, sleight of hand, and the "plastic" trickery that enables the seeming magic of performance.

The one I rely on here is the standard version, the one that defines the classical building practices against which modern and post-modern architectures continue to react. Ingraham argues that "it is precisely the rumpled imprint left by the sexually active body on the rectilinear plane of the bed" that classical architecture, like classical geometry, fears and loathes.

Ingraham contends that the illusion of spatial relations as necessarily linear, perpetuated by classical as well as modernist building practice she treats Le Corbusier at lengthhas established architecture as a discipline obsessed with propriety, property, and the proper name the name of the father. The result has been a refusal to contend with the radical possibilities of non-Euclidean geometry and the alternative spatial relations for which it makes room, including those informed by alternative gender and sexual practices.

I respond here to a specific anxiety over the legitimacy of the "dramatic text" that continues to haunt our work as scholars of theatre and performance; a quick glance at the mastheads of several key journals in our field including, perhaps most famously, TDR reveals how this anxiety manifests itself in practice, every day, in our collective scholarly production.

While I am an enthusiastic performance analyst myself and am fully in agreement with the importance of continuing to advocate for the cultural significance of the performance event in the public sphere, I also believe that our disciplinary bias against text may embed certain risks we have not fully considered.

For one thing, performance analysis implies access to the event itself, which implies a certain unspoken privilege. Who is privileged to view, often multiple times, certain performance events in order to be able to write with confidence about them? Who has access to the economic resources required to enable the kind of painstaking archival work the reconstruction of a past performance demands? When we debase the text, more easily accessed, in favour of the "ephemeral" event that is often by definition accessible only to a select few, what doors are we opening, and what doors closing, to future scholars in our discipline?

figure ground relationship architecture colleges

The interdependence of these woof. In fact, the analogy is what constitutes the urban fabric. These distinctions in grain and, therefore of the fabric are all of those elements that aid in fabric also carry implied references to modern making the built environment both a designed and contemporary design coarse grain and pre- and lived experience. The emphasis on the woof modern modes of building ine grain.

In this way, The commonplace use of the term fabric and built fabric is more than a physical entity, but a its concomitant reference to grain narrowly delin- milieu of conditions social, political, economic, eates architecture and design as only an act of ecological, visual, auditory, aesthetic, etc.

In other words, a panoply of external divorced from the complexities of everyday human circumstances creates the architecture or urbanism and environmental experiences. When so conceived, the woof and warp 07 Drawing Theory, Autumnpp. In order to discuss this proposed understand- Consisting of twelve engraved copper plates, the ing of fabric, this paper will look at how drawings inal plan measured approximately six feet by seven informed the process and theory of urban design feet when assembled.

The trajectory of the the mere recording of the streets and squares in igure-ground can reinvigorate contemporary urban white and buildings in black.

The black and white design praxis once more by reasserting drawing gradient also included the delineation of the inte- as more than mere illustration but as a means to rior plans of nearly 2, buildings, which would, in conceptualize design methodologies that support a turn, prompt a twentieth-century discussion on the holistic notion of fabric.

As Michael Graves points out: Nor is it neutral and merely illustrative. The Nolli plan represented a signiicant 5 promenade that would be unimaginable using other change from previous depictions of cities as it was graphic assumptions. The early postmodern urbanists used They were able to make this argument because the igure-ground as a graphic revelation wherein the they drew the city as a mode of thinking, as a way interplay between public and private, between solid to understand what to do next.

They interpreted the and void could become a physical dialectic that was igure-ground as a graphic technique capable of often ambiguous and ambivalent about what was depicting a gestalt whether it was one that was pre- a igure and what was the ground in other words, existing or being designed - with the black on white buildings and spaces could be both. With this use graphics allowing a pattern of elements to illuminate of the igure-ground, the city became the complex a larger whole [igs. While this graphic distinction from Nolli may seem This mid-century, postmodern graphic re-evalua- minor, it will provide a fundamental difference to tion of the city reached its apex in the competition, thinking about designing a holistic fabric versus Roma Interrotta.

Held inthen-Mayor Giulio designing only physical objects. Despite their sympathies for the the modern city utopically designed. Figure-ground of Wiesbaden, Germany.

figure ground relationship architecture colleges

Drawn by Jordan Terry in reference to the work of Wayne Copper. Figure-ground reversal of Wiesbaden, Germany.

Figure Ground - Thanat Prathnadi

Drawn by Jordan Terry in reference to the work of Wayne Cop- per. In other words, his the last, hopeless, gasp of Team X Portoghesi ; form of interruption was to render the disruption the gridiron as ultimate urban paradigm Giurgola ; invisible.

The continuation of the existing physical an a-cultural world of kitsch Venturi ; paradisiacal grain became the proposed design agenda. Stirling would claim that his choice of unbuilt Steven Hurtt notes: In the early studio years, it was felt planning is somewhat akin to the historic process that the igure-ground plan carried the crucial infor- albeit timeless by which the creation of built form mation, the genetic code for future design decisions.

The igure-ground, thus, was used to with the entry by Rowe is signiicant to this discus- deine a new scale at which architects would and sion, for it was the urban collage scheme from Colin should design: As whole areas of the city.

As Mark complexity beyond the formal are rendered invis- Linder extends: While Hurtt notes that the acknowledged In fact, pictorialism is deeply implicated within the limits of the igure-ground were meant to liberate history of modern architectural theories, criticism, and induce complexity, all too often in the end they and practices.

Both the Cornell school and decon- did not reveal the protean nature of the city in its structivism are made possible by a latent, enduring social, cultural, temporal, auditory, and ecological pictorialism, whether it is the realism that allows a forms. The igure-ground became less tactically whole city to be imagined in plan or the illusionism lexible and more a formally contextual-driven stra- that feasts upon decorative pleasures of angular, tegic plan.

What varies are the deini- type of thread. One of the conference speakers, Alison Brooks, an architect who specialises in housing and social design, told BBC Future that psychology-based insights could change how cities are built. View image of City psychology Greater interaction across the disciplines would, for example, reduce the chances of repeating such architectural horror stories as the s Pruitt-Igoe housing complex in St Louis, Missouri, whose 33 featureless apartment blocks — designed by Minoru Yamasaki, also responsible for the World Trade Center — quickly became notorious for their crime, squalour and social dysfunction.

Critics argued that the wide open spaces between the blocks of modernist high-rises discouraged a sense of community, particularly as crime rates started to rise. They were eventually demolished in Pruitt-Igoe was not an outlier. Today, thanks to psychological studies, we have a much better idea of the kind of urban environments that people like or find stimulating. The difficulty is that your physiological state is the one that impacts your health.

For example, when he walked a group of subjects past the long, smoked-glass frontage of a Whole Foods store in Lower Manhattan, their arousal and mood states took a dive, according to the wristband readings and on-the-spot emotion surveys.

They also quickened their pace as if to hurry out of the dead zone. They picked up considerably when they reached a stretch of restaurants and stores, where not surprisingly they reported feeling a lot more lively and engaged.

In his book Happy City, he warns: Urban living can change brain biology in some people Vancouver, which surveys consistently rate as one of the most popular cities to live in, has made a virtue of this, with its downtown building policies geared towards ensuring that residents have a decent view of the mountains, forest and ocean to the north and west. As well as being restorative, green space appears to improve health.