Maintaining the Tradition in Contemporary Architectural Interventions

MAINTAINING THE TRADITION

IN CONTEMPORARY ARCHITECTURAL INTERVENTIONS

COMPARATIVE ANALYSES AND DESIGN STRATEGIES

TOWARDS REVITALIZATION OF URBAN CENTERS

ROBERT BARELKOWSKI

The Polish Academy of Sciences, Poznan Branch

Poznan, Poland

THE TRADITION AND THE ARCHITECTURE

Never before there have been so many tendencies and formal conventions in architecture. And probably never before there was so much turmoil about understanding of

our environment. Indispensable connections betweeen architectural schools with its

mission focused on formulation of theoretical guidelines and professional practice definitely

rooted in commercial activities, despite the disadvantageous separation and

incoherentness, described by Fisher1 among others, emerge and unfortunately amplify the

chaos within the discourse on condition of architecture and its mission. On one hand we can observe the proliferation of fashion driven architecture, playing the role of sculpture or

commodity, sometimes being self-contained and unrelated to the surroundings. Thus built

environment is adorned with objects that stand out, and below tangled explanations of the

authors one can find little connection to what really composes the framing space. On the

other hand we face the lowest but the most dynamic process of shortsighted developments, driven mostly by commercial factors. This tendency results in quick and extensive use of

resources, in building activities unsupported by deeper understanding of social patterns

and their behaviors in urban environment, cultural or civilizational aspects. The most

significant danger lies in ignoring the vision of the environment filled with multiplicated

objects of that kind and in overpassing the question whether people will be able to adapt

and perceive such space as comfortable, safe, marked by humane character. I would argue that the key to the understanding of this dissonance lies in linking the

notion of tradition to how we experience contemporary standards in urban space, how we

evaluate it, how we find ourselves in accelerating rhythm of life redefining our identity. Why

tradition? The answer is related to current vision of our reality, of architecture as discipline

and its interpretation. We experienced the proliferation of relativist worldview in contemporary interpretations, in attempts to translate and explain growing, but rather

seeming freedom of creation. The urban space has become vulnerable for any penetration

supported with smart arguments and relativist ideology, what resulted not only in

heterogeneous, but in chaotic and self-contained, self-referenced character of our

1 Fisher (2001), Revisiting the Discipline of Architecture, p. 6-8.

TRUE URBANISM: DESIGNING FOR SOCIAL & PHYSICAL HEALTH

70

environment. The space has become the medium for art, happening, performance, despite sophisticated claims on multilayered understanding of ecological or sociological complexity.

In comparison the tradition can be defined as reference basis without doubt – most of the

patterns of the past have been tested and proved their functionality in time. The tradition in

architecture I would suggest to understand rather as complex source of socio-cultural

information and evalution, instead of seeing it as set of direct design guidelines. The

tradition is not about how to design urban space – it is about how people want to use it according to their social and cultural organization, their needs – contemporary and future,

their expectations related to the protection of significant attributes – historical, cultural,

civilization, natural.

The use of tradition as reference point does not mean restricting architecture to

conservative, well-established or historical patterns of urban environment. Instead it is used in order to establish the principles of every architectural intervention. The

intervention – any architectural design, whether it is a new design or a conversion – affects

the environment, so its impact must be properly assessed and acknowledged, and the

designers shall put aside ideological jargon and implement as much objective data in their

evaluation mechanism as it is possible. In fact – before we design space, we should design

its character by values and translate values into architecture not the opposite.

VALUES IN ARCHITECTURE

It is impossible to avoid designing without defining the values, however it may be a conscious decision whether an architect attempts at acquiring his result by selected values

or selected form. While in the latter the result is often decided by intuition or routine and is

imposed by the implemented volumes, the values alter the design process into "reversed

process" in which it is not the material shape of space what matters, but its final perception

by users, by people. Even if we refer to the most basic set of values presented by Vitruvius – firmitas, utilitas and venustas – we are able to find out, that the value present a permanent

idea, non-susceptible to outdating process2.

The architecture achieves his goals when an architectural object (designed by him)

first gains, then maintains values. After some time it may lose some values (or rather use

its full potential to carry e.g. the value of flexibility anf functionality of space), but in the

same moment – if this object is properly designed – it receives acclaim and gains other values by visiting, by blending into cultural landscape. However these values require a

distinguished approach. Let us use the comparison of human perception of the forest and

the botanical garden in order to illuminate the differences between value oriented designed

space and form oriented designed space. We can admire the diversity, the beauty of each

singular specimen, we can rest for a while, we can understand the exceptionality of a botanical garden, but this is a place where we can spend only some time, it is artificial, it

does not correspond in full harmony with our nature, due to arbitrary composition, which

informs us immediately on its origin. On the contrary the forest is a place which, even if

remaining under people's care, retains its vitality, naturality and potential to respond

independently to any external influences. It exists and is able to survive without our help, it

is autonomous, in harmony. Even if this comparison seems to be distant, It reflects certain truth on the two discussed types of making architecture – architecture that evokes

exaltation or architecture that adds to the urban environment. Despite the sophistication

and exceptionality of works by significant contemporary architectural individualities like

Gehry or Hadid urban environment is hardly imaginable, when composed of buildings

designed only by their kind of architects. And this problem has nothing to do with the issues of form or level of innovation.

2 Cf. Barelkowski (2007), Designing Time – Architecture of Becoming. The Strategy of Genuine Development of Architectural Design p. 274.

Robert Barelkowski: Maintaining the Tradition...

71

When we contemplate the preferred image of architecture values are, what we are bringing on and discussing, not the forms, not even the character of space. When a

discourse is focused on defining perfect, virtual space, the majority of debaters will refer to

the values. It is strongly rooted in the phenomenon which Proberts concludes saying, that,

to paraphrase his words, to make a building or a place of value requires to attach the sense

of value gained from the activities or memories of the space attributed to that space by an

individual or community over time rather than impose spatial order in it3. Definitely the architectural object may lose values, its features altered, changing how

values disclosed in it, but these implemented attributes of the object itself may be defined

as time related factors in which values are embedded. Thus for example functionality may

change in time as a result of interpretation, how the value of functionality is maintained in

the object in changed reality and altered civilization conditions. The notion of context is therefore brought forward to explain the translation of permanent values into their material

manifestations represented as attributes of physical space. The architectural values

correspond to factors which connect them with timely processes – social, cultural,

environmental4. Architecture is intended to be durable, efficient (in economic terms),

adaptable, attractive (regardless of time), sustainable, culturally sensitive and human

centered. The object shall also have attributes of usability, beauty, as it should also contain proper fittings. By the composition of particular building or particular space one confers the

form and the meaning which assimilate the values and display their timely shape, the

"zeitgeist" of architecture, provisional or long lasting.

VALUES AND CONTEXT

An attempt to understand the concept of spatial context, when analyzed carefully,

leads to an idea that to grasp the notion of context one has to understand the moment in

which various aspects of contemporaneity meet the values. Perception and efforts to control complexity and reasonability of design choice point towards acknowledging multilayered

nature of context. If spatial context, related to inheriting the environmental features, is the

most apparent and the most obvious one, other aspects of the notion of context have to be

taken into account – the context of spatial code, representing the more abstract relation, is

deeper and closer to the idea of values. But there are other aspects of context, rooted in

civilization, culture and psychological profile of an author5. Context is unique for each place and it is changeable in time, transforming according

to the changes of material and spatial delimitations, or even more strongly in a rhythm

imposed by cycles of usage of space by people. The context changes its meaning perceived

by every individual recipient who, being susceptible to the influence of tides of time, often

modifies his evaluation of observed phenomena including the architecture and urban space. Such seemingly unstable validation of urban space and its components shows

however strong dependence and sensibility to values. And values – even if described in

diverse circumstances, different locations, cultural environments – tend to appear in

similar patterns providing appropriate functions for people of distinct background.

The tradition is formed with continual and harmonious process of transformation of

urban space. The tradition is the vehicle in which generations of users of urban space and generations of creators of urban space establish common set of values, intuitively or

rationally compare their experience in testing, when values are properly implemented and

imbued. And according to the above maintaining the tradition equals maintaining values of

urban space, values of built environment. The unchanged properties of context, tradition

3 Proberts (2006), Architecture and Values, p. 10. 4 Barelkowski (2007), Op. cit., p. 274. 5 C.f. Barelkowski (2006a), On the nature of spatial context, p. 79-86.


72

always refers to, are: uniqueness, quality, complex (multi-layered) valuation and finally an emotional content – induction of emotion6.

The understanding of context has to be embedded in design process. Therefore it

requires analyzing the properties of urban space an architect is about to design and

attempting to define its values through recognition of properties. The tradition of unique

place, the code of individual location is decoded and reinterpreted, supplemented and

altered, and the result depends on how accurate was designer's effort. But can this effort be defined as purely architectural design? Or rather should it be understood as "planning" –

the process of planning which values are of primary importance and how architecture shall

expose them or their interpretation?

If the latter is an appropriate answer, the methodological structure of design process

should reflect the implementation of this "planning" phase and "translation" phase. This methodology extends the presumptions presented as guidelines, that refer to values of

urban space, as Crowhurst Lennard and Lennard7 or Bohl8 point out. Regardless of how

design process is structured or described, how certain design steps are named and

proceeded, we may find many useful information in case studies – the investigation of

successful areas or applications of intentional design methods may appear informative. In

order to get closer to fulfill the goals of design process a proper determination of borders in which these properties achieve a satisfactory level is requested. It is also necessary for an

architect to impose limitations on his own creativity, adjusting it to specific needs of the

task.

LOOKING FOR DESIGN PATTERN IN CASE STUDIES

It appears that in order to acquire valuable urban space an architect has to establish

profound yet flexible methodology implemented in the course of design process. But that

methodology cannot become a rigid framework, it however can become a specific guideline which needs to be adjusted for each design task. This process of adjustment, an individual

adaptation, can be achieved through confronting the design structure with critical analyses

related to objects or spaces which display positive and valuable examples not only of their

architectural volumes, but what's more important here, of urban space. This part of the

design is "reversed process", while it examines how actual, real spaces work, how their

succes is defined (not by the means of marketing, but by the people themselves and their evaluation), what kind of micro-urban relationships were defined and how. The analytic

decomposition and diagnosis which features correspond to certain values seems to recreate

the design process of other architects tracking it backwards.

The first example is Turzynski Area in Szczecin. This special area was decided to

become a pilot for the program of revitalization of the old urban structures9. The subject was to refurbish, convert, revive and reintegrate the location, having its origins in late 19th

century, with worthy tenement type housing, but with many low standard or devastated

houses. In Poland, it was an important experiment, not only on the field of architecture or

6 C.f. Barelkowski (2006a), Op. cit., p. 87. To comment on these remarks we can simplify the properties according to subsequent key: uniqueness may be understood as identity, quality assures durability and functionality, complex valuation corresponds to the potential of multiple use and multiple functions, finally induction of emotion is necessary to get registered in social map, specific behavioral representation of urban space every person creates for his own use. 7 Crowhurst Lennard and Lennard (1995), Livable Cities Observed, p. 225-229. These concise

guidelines may be taken as a manifesto of sensitive design approach, focused on values, but what we discuss here goes towards application, practical use of methods or models. 8 Bohl (2002), Place Making. Developing Town Centers, Main Streets, and Urban Villages, p. 277-280. Bohl presents key points of design for urban centers or important urban places, but his conclusions seem too advisory and require more processing when implementing into design process. 9 Barelkowski (1998), Wskrzeszanie miasta. Renowacja Kwartalu Turzynskiego w Szczecinie, p. 37-38.


73

urban design, but on the field of sociology or economy as well. The old buildings were modernized or converted including protection of the most significant places, parts and

details. Vacant lots were used for new developments, that filled the facades of adjacent

streets. But the interior of this area has become the center point focusing the life of the

inhabitants. The architects10 were unafraid of using the traditional language as the basic

one, they however used also modern applications, elements or superstructures, located on

former roofs. The area looks quite modest, but it is definitely sophisticated mixture of functions, well-fitted integral part of central part of Szczecin and a place, where the past

meets the contemporaneity in a creative and human centered ways.

Fig. 1. Turzynski Area in the process of revitalization, Szczecin, photo.: B. Makowski, 1998

The second example is the development of Xin Tian Di in Shanghai, design realized by Nikken Sekkei International11. The motive behind the refurbishment of this large area is the

preservation of the site, where in 1921 first Chinese Communist Party Congress was held12.

The complex consists of three main structures, which are the former congress building,

now a commercial center, west wall – multistorey mixed-use buildings being the transient

10 Studio A4, Refurbishment of Kwartal Turzynski, 1 phase, Szczecin, 1993-1998. 11 Nikken Sekkei International in cooperation with Wood and Zapata and Architectural Design and Research Institute of Tongji University, Xin Tian Di Area, Shanghai, 2002. 12 Yoshida (2005), Beijing Shanghai Architectural Guide, p. 130-131.


74

space between modern block structures outside the development and its core elements, much lower and human-scaled, finally former housing areas, two to four storey high

labyrinth of interesting streets for pedestrians, a place inviting to be discovered. The

success of this area lies in proper formation of uniqueness of a place, even if filled mostly

with commercial activities, retail and gastronomy, with no "feeding" housing function. Xin

Tian Di is a mixture of buildings, small squares, mysterious corners, realizing the postulate

of multifunctional yet active urban complex. Its elaboration in material, proportions between historical or renovated / recreated forms and modernity refers to the issue of

quality13.

Fig. 2. Xin Tian Di district internal spaces, Shanghai, photo.: RB, 2006

The third example is an extension to existing housing estate (mixed-use) established in

order to create local center in suburban areas of Poznan – Kozieglowy14. CzTBS

development at Lesne Estate was planned to benefit from the concept of continuation – it was designed by several architectural teams including Armageddon Architectural Design

Office15. A significant part of this housing estate (a multi-apartment one) is a medium size

development, being the only element of all structures in which extended program of social

participation was implemented to some extent. The idea behind the project was to hold

people within that area and to provide them with satisfying spatial solution, based on their

requests and expectations, in order to avoid further migrations or movements outside the urbanized space. The decision to provide new apartments was correlated with the inquiry

on the needs of local community. People participated in defining the values and actual

13 Paradoxically modern parts of Xin Tian Di are of weakest impact and seemingly lowest quality – the center of gravity of this complex lies in the "old" part. 14 Barelkowski (2006b), On achieving appropriating and contextuality through Architecture of Background. The methodology for balancing the civilization and cultural contents of architectural solutions, p. 434-435. 15 Armageddon Biuro Projektowe, CzTBS Estate, Kozieglowy – Poznan, 2003-2007.


75

architectural solutions16. The architect's responsibility was to maintain the properties discussed above and to go beyond timely needs of local community.

Fig. 3. CzTBS Housing Estate, partially under construction, Kozieglowy, aut.: RB, 2005

The fourth example is Bayt El Suhaymi Area in Cairo, worked out under the auspices

of N.A.D.I.M.17. The principle idea is to transform this once devastated area into organic mixed-use development, with the use of old, original buildings, however with vast

implementations of new ones. Regardless of its "monumental" value (which was not very

high) its urban form and positive impact on adjacent areas was consider as major goals, its

landscape and traditional configuration was identified as key element, although clearly the

architectural form is not a historical pastiche or a copy. The important value of this estate, located in the historical center of islamic Cairo, lies in converting the traditional motives of

muslim architecture, including mashrabiyas, color palette of wall material, use of wood and

stone, and compiling it into smooth, new houses. The attention paid to the details is

significant, because the atmosphere of narrow, half-private urban interiors is recreated

rather by using spatial code than applying literal elements of typical arabic architecture.

That code is defined by the geometry of passages, rich in its irregularity, by signs and banners which emphasize the identity of singular places, by the superimposition of

mashrabiyas, but there are also some places, that can be referred only to contemporary

thinking on architecture – small squares or niches in urban corridors, allowing for rest,

social interaction or simply contemplation of ones own environment.

16 For example future inhabitants and neighbors were asked what kind of most desirable services are absent in the surrounding, what kind of urban typology should be used (e.g. open or closed), how the site should be accessible, what technical standards will be affordable but still satisfying and comfortable. They had their influence even on colors used on the elevations. 17 N.A.D.I.M. and SCA, Bayt El Suhaymi Documentation, Restoration, Conservation and Development Project, Cairo, 2004-2006.


76

Fig. 4. Bayt El Suhaymi area, Cairo, aut.: RB, 2006


77

The fifth example is located in small town of Kostrzyn, 20km east of Poznan, where immense growth in number of inhabitants called for reconversion of central areas and

initiated processes of transformation resulting in implementation of Przemysl I Housing

Estate18. The project was elaborated as multi-phase development, containing four phases

and implementing apartment, four storey objects as a conversion of post-industrial area19.

The concept assumes the creation of local sub-center, providing appartments for a number

of people equal to ca. 15% of current Kostrzyn inhabitants. Such level of intervention demands the implementation of mixed-use, the establishing of proper context relationships

between the new estate and varied surrounding, which consists of school, row two-storey

housing, scattered mixed type housing and remnants of typical tenement house structures.

The concept combines linear penetration of transportation services with careful

composition of internal urban spaces, used for recreation, children, who are immersed in safe labyrinth of familiar spaces connected one to the other. Secondary funtion is

accompanying providing retail and local marketplace function, and however current

solution here does not grant fully satisfactory solution, it can be incorporated quite

harmoniously.

Fig. 5. Przemysl I mixed-use development, Kostrzyn, aut.: RB, 2006-2007

These five projects present different subjects and scales, diverse cultural backgrounds, but this compilation may indicate important common features which display

the universal connection of traditional values required for positive arrangement of human

environment. In order to diagnose and cross-examine these case studies Reversed Process

Analysis (RPA) can be applied as one of methodological structures allowing for

reconstruction of how the process of establishing the features and the design process was proceeded in five cases. RPA starts from defining what kind of expected properties are

acquired in each one of cases and goes back to investigate what mechanisms and what

tools or what decisions are responsible for positive results. The properties are linked to

values and connected to spatial structures assuming it is possible to connect easily (one)

structure and claim that presence of this structure is antecedes the formulation of certain

property. The specificity of RPA is found in its constant reference to architectural values and unceasing evaluation of how these values are embedded in an urban space.

18 Barelkowski (2007), op. cit., p. 278-279. 19 Armageddon Biuro Projektowe, Przemysl I Housing Estate, Kostrzyn, started in 2006.


78

STRATEGIES OF INTERVENTION AND META-DESIGN PROCESS

Although we've been through five cases, multiple other examples display wide variety

of approach concepts, methods applied, intuitive design or rational design processing on one hand, but in all cases one finds definite relevance to architectural values. It is due to

the fact, that no architect can claim that his works are human centered, if these works are

not grounded in the idea of active participation in creation of human related environment, if

they are not meant to exist in social space or at least in common memory of members of the

society (even if they are temporal). If architecture does not contribute to our built

environment in order to fulfill selected ideas – is it still architecture then? Seeking an architectural solution means to select the hierarchy of criteria. It means to

validate not only the material manifestation of architecture, but the values and the impact

that the implementation of these values have on users of space, both contemporary and

future. I would argue that architecture is partially about predicting how future will look like

and what kind of values will be appreciated. The design process is time driven process of translation of an idea into matter, virtual environment into physical space. This takes often

much time and this time axis affects both architecture itself and its evaluation as the flow

of time is related to how people change. Thus the nature of architectural design, in which

the architect is forced to understand the time related factors, lies undoubtedly in ability to

maintain the value of proposed solution, regardless of what kind of constraints or values

designer is focused on. The architect has to understand the future through the concept of continuity, through the idea of creative contextual response. The architect is expected to

grasp fully the concept of tradition in architecture.

One of apparent signs of tradition present in architecture, despite some architects'

focus on breaking conventions and declarations of being programmatically revolutionary or

"innovative" (what many times serves the purpose of promotion or popularization), is the selection of set of values, their hierarchization and embedding in the form of space.

Cross-analysis of selected cases led to extraction of set of values, defined and

described by the authors for each one of presented projects. These values were confronted

with final design result and its evaluation. The value matrix (VM) displays multiple values

declared to define the guidelines for design activities. Five cases are located in many diverse

environments: in the downtown of large agglomeration (Shanghai), in historical area of large city (Cairo, Szczecin), in highly urbanized suburban area (Kozieglowy), and in small town

(Kostrzyn). They are located on five continents having varied cultural background. But as

we can follow the words of the authors, projects are intended to express values – common

for the majority if not for all of analyzed examples. Familiarity, safety, livability, gradual

space structuring, property of being identified, socialization, quality of space (timely concept of present expectations of users of space), durability, and the urge for beauty are

represented stronger than economical efficiency, sustainability or symbolic meaning.

Can the process of design be optimized or improved when intuitively dealing with

complex design data, investor's assumptions, and architect's obligation to transform the

environment in a responsible manner? Conscious, rational elements tend to implement

design methods in order to facilitate the design process and its complex and interdisciplinary nature. As we follow the Reversed Process Analysis, it is unavoidable to

compose Value Matrix with Design Strategy Matrix (DSM). DSM introduces the values and

brings on the set of criteria or assumptions for a specific development. It also acknowledges

the concept of time lapse and its influence on design and designed object. It shows possible

methods and prompts the choice of the seemingly most efficient intervention strategy. Presented DSM contains five different strategies and mechanisms to manage the

architectural task: strategy of catalysts, strategy of Architecture of Background, strategy of

controlled growth, strategy of morphing programming and total design, selected depending


79

on design assumptions and constraints. RPA may be continued to extract the key elements of design and to investigate its phases in each of the five examples.

As we can see this analysis of design process presents it as an approach to

architecture which abandons formal, generic, mathematical, geometrical or even

evolutionary frameworks, seeking for less arbitrary sources of solution. Both time impact

analysis and value oriented definition of space are more crucial to the quality of our built

environment, than semantic or syntactic deliberations. But to control the undefined, to try to improve architect's skills of interpreting ideas into space and spatial properties, hyper

methodology is to be proposed. The concept of Meta-design is necessary to allow using

multiple methodologies in one practice and to maintain control over crucial points of the

procedure. Then, design subject may be analyzed, defined and evaluated also when one

architectural team works in diverse locations and in distinct cultural backgrounds. The threefold procedure integrates meta-design, design and simulation. Meta

procedures serve to distinguish the set of values (VM), to determine the framework of

design, and to assign the method (DSM). Design activities are the core and direct activities

related to the subject of design, they lead to formulation of program and task specificity,

then create an image of the object, produce the design itself and allow for development,

construction and occupancy. Timeline is represented by internal twofold simultaneous course. Basic simulation is applied to the subject of design, but meanwhile analogous

prediction refers to general20 tendencies. Prognostic sampling serves for verification and

evaluation purposes. Time focused simulation is also intended to provide "falsification"

process for multiple alternatives considered during designing. The "design discourse" is

present in each design process, but programmatically and methodologically it is embedded

fully in the last project described, where Meta-Design is used to systematize preliminary data, preplan (namely decide upon the best strategy of intervention, set hierarchy of criteria

and attach values, define means of evaluation), design and supervise.

The traditional approach to architectural design, rather in terms of principles than in

terms of formal preferences, appears to be strongly connected to what meta-design

specifically refers to. However this traditional approach as well as the notion of tradition in architecture are affected and transformed by the use of Meta-Design. Can we claim that it

is still tradition? Fortunately the principality and the rigidity of Meta-Design process

appears to be only in supervisory part, controlling aspect of design process, and it leaves

floor for any design research, any preferences – restricted only by always rationally defined

aims and constraints, values to follow and attributes to impose on built environment.

Constant systemic validation contributes to the improvement of quality and brings an architect closer to the real layer of what architectural design is for, allowing him to

maintain the most important goals of his/her profession. We can attempt at applying

everlasting values of spatial environment intuitively, however it seams more reasonable to

support ourselves through methodologies focused on values.

BIBLIOGRAPHY

Barelkowski, R.: 1998, Wskrzeszanie miasta. Renowacja Kwartalu Turzynskiego w Szczecinie, Magazyn Budowlany, 5/98, 37-40

Barelkowski, R.: 2006a, On the nature of spatial context, in R. Barełkowski (ed.), The Incalculability of architecture, Osrodek Wydawnictw Naukowych, Poznan, 77-93

Barelkowski, R.: 2006b, On achieving appropriating and contextuality through Architecture

of Background. The methodology for balancing the civilization and cultural contents of architectural solutions, in 3rd International Conference ArchCairo 2006,

20 Local, regional, world – depending on the scale and the subject of design.


80

Appropriating Architecture. Taming Urbanism in the Decades of Transformation,

Department of Architecture, Faculty of Engineering, Cairo University, Cairo, 428-443 Barelkowski, R.: 2007, Designing Time – Architecture of Becoming. The Strategy of Genuine

Development of Architectural Design, in 4th International Conference ArchCairo 2007,

Linking and Bridging:.Academia and the Professional Realm, Department of

Architecture, Faculty of Engineering, Cairo University, Cairo, 268-290 Bohl, C. C.: 2002, Place Making. Developing Town Centers, Main Streets, and Urban Villages,

Urban Land Institute, Washington Crowhurst Lennard, S. H. and Lennard, H. L.: 1995, Livable Cities Observed, Gondolier

Press, Carmel Fisher, T.: 2001, Revisiting the Discipline of Architecture, in A. Piotrowski and J. W.

Robinson (eds.), The Discipline of Architecture, University of Minnesota Press,

Minneapolis, 1-9 Proberts, L.: 2006, Architecture and Values, in R. Barełkowski (ed.), The Incalculability of

architecture, Osrodek Wydawnictw Naukowych, Poznan, 9-21

Yoshida, K. (ed.): 2005, Beijing Shanghai Architectural Guide, Architecture and Urbanism,

May 2005 special issue, Tokyo

Maintaining the Tradition in Contemporary Architectural Interventions

Documents

Transcript of Maintaining the Tradition in Contemporary Architectural Interventions