This study proposes a new model to conceptualize design process with multi-actors, and formulates the organization and representation of these processes by architects. Using montage and collage, this model enables to organize the role of diverse actors in participatory place making. In the model, speculative design and distributed design are combined for the ideation phase. Additionally, the concept of lived space as theorized by Henri Lefebvre help consider placemaking during the design process. On the one hand, this model enables to transform the lived experiences of multiple agents via speculative design. On the other hand, it clarifies the role of architects in this collaborative process as the assembler of montage and mediator of communication. By reshaping certain phases of collective design and inserting combined conceptions, the chapter proposes an unprecedented model. As a result, to envision multiple lived experiences as a meaningful whole and their transformation into visual narratives become possible.
Increasing permeability of disciplinary boundaries results in the theoretical and conceptual mobilities among different disciplines. Architectural theory has a unique position within these transactions since it transformed into an ever-expanding knowledge terrain via interdisciplinary perspectives. By undertaking different modes of appropriations in the architecture-media relationship, this study aims to disclose the directions and extents of these transactions. Hence, from the vast literature on the subject, specific studies are selected by considering the impact on the field, originality of approach and representation capacity of a shared perspective. These are examined via Michael Ostwald's model, composed of uni-directional, hybridization and multidirectional appropriation modes. The study found that architecture predominantly engages with media in the uni-directional mode and expands its knowledge domain. Although hybridization is not observed as diversely as uni-directional appropriation, it manifests a certain level of profoundness where these fields take almost interchangeable positions. Lastly, in multidirectional appropriation, architectural theory and media theory are seen to intertwine preeminently. The study concludes that it might be the shared origin of two knowledge fields as revealed in the concepts of extension/prosthesis that underlie the convenience of these conceptual transactions.
As a concept archive encapsulates different levels of profoundness and has a loaded meaning. This concept has interpenetrated into many disciplines and gained a strong position as a theoretical tool in the late twentieth century. As much as the variety and elasticity of its conceptual elaborations, the imaged existence of the archive in the fiction medium also reflects a certain heterogeneity; archive spaces are depicted in connection with associations such as ‘being buried, accessibility difficulty, security, dusty and old environment’. Dematerialization of its basic unit, the document, leads archive space to lose its materiality as well. This creates an interest and ambiguity for the archive’s future. Among these ambiguities, the study initiates a discussion for the imagination of the future of the archive and looks into the archive’s techno-cybernetic envisagement via analyzing the film Archive (2020). According to this analysis, the meanings associated with the archive are constructed via three distinct levels; these are the architectural features of the facility, the representation of the archive as data storage, finally, its embodiment as a synthetic body, which hints that the archive will evolve from a static repository to a variable and active process between past knowledge and the phantasy of the future. The article argues that without reduction to representations at any one layer, a mental image of the archive arises from their interaction and concludes that the archive is not an object, but a web of relations that is open to reproduction and interaction of what it contains.
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