La investigación se enfoca en el análisis urbano de los barrios periféricos de Tunja abordando las problemáticas asociadas a la fragmentación urbana, la accesibilidad y el bienestar. El objetivo principal es desarrollar una metodología mediante fichas cartográficas comparativas que permitan evaluar desde diferentes escalas y aspectos (ambientales, sociales, de movilidad y socioeconómicos), las dinámicas urbanas y sus impactos. Se contextualiza la relevancia de los barrios periféricos como unidades urbanas afectadas por la falta de integración al tejido urbano principal. Se plantea la necesidad de metodologías recientes que permitan analizar estas condiciones y generar estrategias de mejora aplicables a otros territorios con características similares. La discusión profundiza en el desarrollo y aplicación de fichas cartográficas, proponiendo tablas cualitativas y cuantitativas para sistematizar los datos recolectados. Estas herramientas destacan por su flexibilidad y capacidad de adaptación a diferentes territorios y aspectos urbanos, lo que las convierte en un aporte complementario para futuras investigaciones. Entre los resultados se identificaron patrones clave relacionados con las condiciones de accesibilidad, discontinuidad del tejido urbano, dinámicas sociales y factores socioeconómicos. Estas observaciones fueron sintetizadas en tablas que evidencian correlaciones significativas entre los factores evaluados, permitiendo priorizar problemáticas y áreas de intervención. La investigación concluye con la respuesta a la falta de herramientas específicas para el análisis urbano reciente y establece una base metodológica replicable. Además, se resalta su potencial para el desarrollo de políticas públicas y como referencia para futuras investigaciones académicas y prácticas
This paper shows some results of the research activities carried out in the spoke five of the National Biodiversity Future Center aimed at testing the effectiveness of urban regeneration projects, including the creation of Pocket Parks as adaptation strategies to climate change. The methodological approach adopted to validate the design of small scale resilient urban spaces implemented by the Municipality of Florence will be presented starting from the definition of state-of-the-art. Furthermore, it will analyse how the meta-planning model (based on the integration of NbS) and the predictive tools used in the experimentation can be used to develop future regulatory tools for planning and controlling the transformation of the built environment.
Aesthetics of cities. City planning and beautifying, Architectural drawing and design
Este artículo pretende documentar la solución constructiva aplicada para cubrir el espacio de la escalera ejecutada durante la ampliación del siglo XVI del monasterio de Santa María de Piedra, mediante la ejecución de bóvedas tabicadas. Presentamos un estudio sobre el desarrollo constructivo de la solución empleada, así como un análisis formal del modelo geométrico sobre el que hubo que intervenir para recuperar y rehabilitar el espacio de la escalera. En comparación con las bóvedas realizadas en cantería, la eficacia de las tabicadas es patente en cuestiones como la economía de medios, la rapidez de ejecución o la ligereza y todo ello ha supuesto que este sistema sea valorado y puesto en práctica en diversos periodos de la historia de la construcción.
AbstractFrom 2005 to 2017, William E Massie held the position of Architect‐in‐Residence/Head of Department at Cranbrook. Making is in Massie's lifeblood and his tenure was characterised by students making larger‐scale constructions. Dismantling the rather insular personal studio, Massie reintroduced a communal studio culture where students learn from each other and create in mutual association.
Citizen Design Science is a new co-design strategy for urban and architectural systems that improves the planning, design, management, and renewal of cities, urban habitats, and architectural structures, using active design tools through citizens' observation, experience, and local knowledge. The aim of this study is to describe how Atakent Parking Area is transformed into a public space design and implementation through both digital and analog active design tools in the co-design process that includes citizens' spatial experiences, needs, and desires through the method of citizen design science. The objective indicators and subjective perception applied in the study were combined in the co-design process to implement an urban design project. The experimental collaborative urban design process is realized on a democratic platform based on the tendencies and expectations of the participants. Two conceptual urban design projects were prepared with design science data including citizens' wishes, needs, and suggestions about the area, and participating citizens were asked to vote for the project democratically in the urban space. The selected conceptual design project was transformed into an implementation project in the urban area.
Mixed buildings bring together different functional units scattered throughout the city and show their users a new face of public space under a single roof. While the spatial qualities that shape the architecture at the design stage offer goals that improve public life, they highlight the continuity of the urban fabric within contextual implications. Large-scale mixed buildings are strongly involved in the urban pattern as a building typology that is being applied and scaled up more and more day by day; with its large volumes in the combined parcels, it determines not only the quantity of its own areas but also the quality of the urban area. Mixed buildings should have a feature that is responsive to human movements, and that communicates through the public spaces they create, not with two-dimensional surfaces in the areas where they come into contact with the city. Living and moving spaces are shaped by architectural structures and systems. In this sense, architectural spaces prepare the ground for the formation of contemporary experience beyond visual interaction. In the study, the changing qualities in the relationship between physical architecture and thematic formations that shape the design of Zorlu Center were examined through spatial analysis. These analyzes made on mixed building designs and discourses, which are at the center of current discussions, have brought a different perspective to the phenomenon of public space in memory with site-specific shaping and design decisions, and an infrastructure that will allow the production of information for new designs has been constructed.
Danila Longo, Saveria Olga Murielle Boulanger, Martina Massari
et al.
Responses to the current energy crisis and to action against climate change have produced a wide variety of experimentations. Positive Energy Districts (PEDs) and Energy Communities (EC) are spreading as aggregators of enabling technologies, but the knowledge and skills required to plan, implement and monitor them still need to be developed. Technology alone is not enough to facilitate knowledge sharing and the experimentation and co-creation of solutions. The paper focuses on methods and tools that allow to support the creation of “energy citizens” through considerations developed in project H2020 GRETA (Green Energy Transition Actions) and in COST Action ‘PED-EU-NET’.
Aesthetics of cities. City planning and beautifying, Architectural drawing and design
The studies on design and design methods increased towards the end of the twentieth century in industrialized societies, however, the act of design started to be carried out with different auxiliary tools. The digital and algorithmic structure behind the computer has begun to provide the designer with different possibilities outside of the traditional drawing environment. After this period, the queries and discussions on the content of the design, its components, the intellectual process of the designer, and similar issues gradually increased. Within this scope, new theories and methods have emerged. In today's design, especially with digital technologies, transformations in theory and practice in the design process have brought new methods with them. Architects and designers have now become design tool developers rather than using use of the design tool. Based on this, the assistive tools that determine the current architectural design style is aimed to be explored in this paper. The study contributes to the field by (i) exploring these tools and their latent features, (ii) assessing the pros and cons of these tools, and (iii) last, implementing these design tools on the case studies.
Nella storia della rappresentazione, il disegno eretico, nelle sue diverse accezioni, attua sempre fenomeni di discontinuità capaci anche di innescare e alimentare processi elaborativi che fanno progredire la disciplina ampliandone i temi e i confini. Ciò è riferibile sia alla sfera teorico-operativa che abbraccia le metodologie, le tecniche, gli strumenti, i segni, le iconografie ecc., sia a quella degli approcci culturali e delle intenzioni procedurali che comprendono comportamenti/obiettivi ludici, onirici, sperimentali, esplorativi, utopici, distopici ecc.
We called the global creative community for contributions by summer 2020 in an attempt to map practices for generating and sharing alternative knowledges across a variety of creative methods and forms.
Our call accepts that there may be an infinite number of equally valid, but possibly less accessible – or merely accessible by certain communities – knowledge systems, much like concurrent physics is considering the existence of a multiverse of parallel universes. If this were indeed our view, then obviously it would be a futile exercise articulating a comprehensive overview of all existing/possible systems. Instead, all we may attempt is articulating potential frameworks to qualitatively and/or quantitatively describe such systems.
This article covers, in chronological order, Alicante’s public graphic production related to urban planning and building, through the most compelling pieces, both for their relevance and repercussion at the time of their elaboration, as well as for their influence on subsequent significant documents. The plans analyzed are prior to 1860 (date of demolition of the city walls) and they are all housed at the Historical Municipal Archive of Alicante (AMA; abbreviation in the text). Their representativeness is based on the study and profound knowledge of the 1,026 pieces that integrate the period considered, obtained from the previous digitization of the entire collection, by the author, for an as-yet unpublished catalog. Among the objectives of the present work, one is to increase the drawings awareness and illustrate their usefulness for understanding the evolution of the discipline and its relationship with the society that produced them. Furthermore, it seeks to vindicate the patrimonial value of the documents and their digitization as the best way to preserve them and the validity of the local research.
Architecture is both a means and an end. Tending towards it allows the designer, and whoever takes part in the design activity, to make an ambitious attempt at defining an evolving entity.
Deciding today what will be tomorrow – or, even, forever – is an extraordinary action that carries with it a high degree of responsibility: before being created, everything we see today in our built environment – public spaces, buildings, materials – were first of all imagined, and even dreamed.
It is a question of accepting imagination as an instrument of creativity, as a primary element of evolution, allowing man to change and adapt to the spaces in which he lives. Dream, foresight, anticipation, invention and creativity – in other words, the overcoming of the sensitive side of our existence – represent the highest expression of man’s responsibility towards the world.
By definition, a designer’s imagination is akin to the ability to anticipate: the environment, the city, the habitat of man; the urban and non-urban landscape of the future; the transformations we can impose and those we must endure.
The act of designing means constantly pondering such aspects, cultivating the exercise of doubt as a primary prerogative of developing architecture. Designing means trying to never lose sight of the value of the many “maybes” that man faces every day, with courage but also with uncertainty. For architectural designers, use of the conditional is a desirable practice, given their constant battle with weak, alleged certainties and infinite unknown variables.
Our responsibility, as designers, is to take consistent and structured architectural decisions promoting the construction of buildings and such use of the environment and landscape as to anticipate new scenarios, drawing on our past yet projecting ourselves into the future based on evolving scientific criteria.
Taking these assumptions as our starting point, I wish to dwell on the relationship between history and contemporaneity, in order to outline plausible prospects for our geographical area, based on an autochthonous and original reading of the Italian and European contexts in particular. A vision that takes its cue from the purposely provocative wish to elevate history to a barometer of contemporaneity1.
This interpretation relies on the assumption that ours is an urban world. While it is true that cities occupy less than 3% of the planet’s surface, people, the inhabitants of the world, live and circulate mainly in cities, and the tendency is to reaffirm this dynamic. This cultural attitude has inevitably resulted in their growth, in number and size, in a variety of ways mirroring our different lifestyles.
The built environment constitutes the theatre of our lives, that physical context, hosting the life of man, readily identifiable with the concept of city. There can be no proper planning of our world, of our reality – whether natural or relating to man’s habitat – without constantly referring to the history of places and cultures.
Great masters have always been unanimous in reiterating the need to be familiar with history so as to be able to draw on such knowledge and adapt it to the new era. A civilization with no memory is destined to repeat its mistakes. Studying our past, instead, favours the contemporaneous experience, whether it be permanent or temporary, in continuity or in discontinuity with our past. In this dialogue between past and present resides the sequential and evolutionary value of the moment we are living.
In the world’s heterogeneous urban structures, there are contexts for which a genuine history has not yet been written, and others, which, on the contrary, are strongly characterised by their urban experience.
The city is everywhere, it permeates every anthropized interstice, concentrating in magnetic form and making it seem that our fate has already been written: we will live in megalopolises. By 2050, the world’s population is expected to increase from 7.6 billion to 10 billion people. Currently, 54% of the total population lives in cities and, again by 2050, this percentage is due to rise to 70%, with the world having over 40 megalopoles – cities with more than ten million people – by 2030.
On the other end of the spectrum, however, it is worth noting that in the countries of the European Community, Italy among them, almost two-thirds of the population currently live in small and medium-sized urban centres.
For us, history is both a constant and inescapable liability, but also an enormous asset to be protected and valued. As a result, the European city, and the Italian one in particular, is going through a dynamic, non-static age nourished by the relationship of accord and discord between these two factors. It is constantly being enlarged and modified over time, opening itself up to the territory in a widespread manner and altering the urban behaviour of its inhabitants, its visitors, its designers.
The city can no longer be measured, as it used to be, in terms of density, continuity, variety: the current urban scenario is discontinuous and enfolds considerable differences in terms of housing and functional density.
It is also increasingly difficult to determine where the countryside begins and where the city ends: new ingredients linked to the concept of free time change our set ups and habits, and contexts connected with historical tradition show signs both of development and of contraction. This phenomenon takes its place among dynamics linked with the concepts of metropolisation and urban shrinkage, i.e. an increase in the mass and a decrease in the weight of the city.
This development, mainly associated with a population decline, involves much more than just a falling demographic trend. It is viewed, instead, as a phenomenological and unplanned result of economic and political decisions resulting in excessive urban spaces, buildings and obsolete properties. Consequently, while some realities grow culturally, physically and economically, others experience deindustrialisation, economic crises, demographic nosedives that result in a redundancy of empty and abandoned buildings.
The housing heritage passed on to posterity, often unused and obsolete, represents a serious challenge for the community in terms of dealing with the existing scenario and with the built city. “New” settings exist, and make sense, even where man has already carried out transformations: in the European context, there is no need to design a “new city”, but rather to identify new development strategies in line with the existing reality.
This concept has been universally accepted as the primary means of giving whole parts of the city a new lease of life: the act of making urban regeneration a driver for the rebirth of areas that have lost their identity. In the case of Italy, the idea is to regenerate neighbourhoods springing from a historical design but that have in fact lost the population that originally defined and nurtured it.
Regenerating means restoring a state of dignity and grandeur by reconstructing the injured or lost parts of an urban organism. More specifically, it means tackling the new demands of contemporary living within historical fabrics, adapting the forms that the city has taken on over time to the changed needs of new urban populations. Building in an existing, on an existing, within an existing context: this is the challenge our generation must face.
«The underlying theory», writes Paolo Portoghesi, «is that architecture, every architecture, is born from other architecture, from a non-fortuitous convergence of a series of precedents, combined by a synergistic process of individual thought and collective memory»2.
The Italian landscape owes its survival to the fact of giving attention to local cultures and rejecting standardised developments, because it in is such “differences” that beauty, continuity and harmony lie. Every urban context is inevitably the result of multiple stratifications, and as such can be referred to as historical. Contemporary designing continues this historical process based on an inescapable rationale of continuity.
The juxtapositions of continuity-discontinuity and assonance-dissonance lie at the epicentre of the dialogue between the past and the future. It is for these and other principles that we must live the city, we must preserve it and value it, not as antiquarians or museum managers, but as citizens-architects with a highly developed sense of civic duty. We need to leverage the best of our past and of our experience and adapt it to our present and our future. This is because life – and, even more so, the work of an architect – is the sum of experiences, in the very same way as the city is, too.
As Italian singer-songwriter Francesco De Gregori sings in a beautiful song from the 1980s, “we are history” (La storia siamo noi)3: history, therefore, is not about buildings, or rather, it is not just about buildings and spaces; history is made by the men and women who live and interpret them.
The dialectic relationship between memory and contemporaneity, in every discipline, sums up the ambiguities and difficulties we are going through. Consequently, the relationship between expressions of contemporaneity and traces of our past directly involves the debate on the range of action of design and constructive practice. Since modernity-related phenomena often tend to weaken the natural, historical and cultural environment, in Italy it is inconceivable to have an idea of architecture that disregards the concepts of memory and identity, also in relation to topical modern-day environmental problems.
The process of creating our contemporary world must also serve as a fundamental instrument of analysis, elevating the critique and study of history to a constructive filter of new trends. Utterly inadequate, therefore, would Frank Lloyd Wright’s alleged dig at Siegfried Giedion be today: “we both deal with history, the difference being that you write about it while I make it”.
Critical action, an awareness of the past, an understanding of the present and an inclination towards the future are strategic and synergic factors for the dissemination of knowledge, since every age must represent itself: it must leave a trace, through the built and the unbuilt environment, of its style and tenets. We must, therefore, counter an idea of the past as a phenomenon in itself, as something that is over and done with, separated by an irreparable fracture from the present.
This is an attitude that the younger generations tend to adopt: for them, the past is obsolete and the here and now advanced and progressive. Our young people’s growing ease with the use of electronic instruments should be set against a growing weakening of their critical ability.
Contrast, hybridisation, fusion, allegory, reference: in contemporary urban architecture, these factors are elevated to legitimate and desirable processes. The vexata quaestio regarding the logical connection between contemporary architecture and historical contexts sums up the daily relationship between the old and the new, with the concept of historical continuity – in functional, semantic and technological terms – being the constant element of the equation.
Here, then, is the paradigm: architecture is the barometer of an era, while the consolidated city sets the stage for comparing different eras. There is no single road to be followed, but multiple approaches, which can be mutually contradictory or complementary.
Man was born to be a builder and modifier of the world he lives in: a child left alone on a beach will show his instinct as a builder as he plays with the sand. Hence the human mind’s faculty to preserve and call up memories and experiences that represent a founding element of the individual and collective identity of the city. Memory, in this cultural context, is an essential requirement for the birth and development of a people’s culture.
Man simply adds to or subtracts from this memory, seeking a dialogue with pre-existing frameworks within which new designs can outline the transition from past to future. We channel the passage from before to after, without ever being extraneous to either.
Aldo Rossi believed that the question of ancient-new, of conservation-innovation «can no longer be seen only from the viewpoint of the relationship between the old and the new [...]but from that of the necessary modifications that are produced with every work»4.
Architecture is such when it favours its usability, in line with the idea of an entire community. The hope is that, in a thousand years’ time, when future archaeologists find our ruins, they can easily date our buildings and our cities due to the forms, the materials, the technological and construction systems used.
Buildings, like men, are living, pulsating beings in continuous evolution; and the city, to use an oxymoron, is their natural environment. Moving beyond the metaphor of architecture – referred to by Goethe’s as “petrified music” – and widening our horizons, it is worth noting that every human sphere regards the history of society as the engine of contemporary design.
The relationship between memory and contemporaneity is the barometer of all the elements that make up our existence – society, work, well-being, health, interpersonal relationships, lifestyles – and of our relationships with them. Every transformation can be positively experienced when it is welded to its own past, not in opposition but in continuity with same.
Every day we are reminded by the experts that global warming is progressing faster than expected; every action connected with altering the built and the natural environment must necessarily be carried out with this in mind.
In order to try to outline some future scenarios, paraphrasing the context in which this paper is placed, and acting within that paradigm, I would like to reiterate certain concepts on which future strategies should be based.
The historical city is a more resilient entity than others are because, having had to confront that very historical aspect, it has had resilience imprinted in its very DNA. The city is where most of the world’s infrastructure is concentrated - a vital element for quality of life and always a critical factor within the Italian scene; it is the primary place and a democratic instrument of inclusion, integration and enhancement of differences through the plurality of its configurations; it represents the framework and a paradigm of acceptance and reception of inhabitants from rich and poor lands alike, who have decided or have been forced to leave their native home; the city and its spaces, its forms, play an educational role in the behaviour and habits of people.
Three actions are consequently essential for our modern-day reality, incorporating a strategic significance for the future of our contexts and landscapes.
It will become increasingly necessary to invest in urban regeneration, both in a material (space) and an immaterial (society) sense, without ever forgetting that cities are the people and not the containers that house them.
It will become increasingly important to foster and promote dialogue with the built city and not to interpret the two entities as diametrically opposed, drawing on the concepts of valorisation and use, and not of simply preserving and treating cities like a museum - because the city only survives if it lives.
It will become increasingly useful to consider the city as a living being, developing new formulas to graft and transplant “new organs” through micro and macro urban surgery operations on the city’s living body. And there is no doubt that the citizen is the city’s best possible doctor.
We are the outcome of the experiences that have formed us. Each of us preserves his or her own memory of the past, and this will emerge subconsciously when facing anything new, combining rational reason with subjective need.
The city is the sum of many architectures. Likewise, architecture – and history – are the sum of many stories.
We are history.
Aesthetics of cities. City planning and beautifying, Architectural drawing and design
This photo essay explores the possibility of radically shifting the understanding of the design studio as a spatial construct. By considering the seven-year evolution of a (socalled) design-build project known as the Imizamo Yethu Water Platforms, it recognises the possibility of dislocating the design studio from its traditionally centralised space in the academy and moving it to the site of its investigation or intervention for the duration of a project. The Imizamo Yethu Water Platforms aimed to improve water and sanitation infrastructure in a severely under-resourced informal settlement in Cape Town, South Africa, through the insertion of small permanent public spaces. Due to a number of reasons, including the physical characteristics of the sites selected for these spaces, the design studio gradually shifted its physical location to such an extent that virtually the entire design, documentation and construction process took place in-situ.
Throughout the history of design, we have been able to understand how often production and design methods have undergone radical and substantial changes that project us into a future that is increasingly technological and within everyone's reach.
Küreselleşme etkileri sonucunda bölge ve bölgesel gelişme kuramları değişmiş ve yeni kavramlar oluşmuştur. Bu makalede; yeni gelişen Yeni Bölgeselcilik anlayışının oluşturduğu etkilerden bahsedilerek, bölge için önerdiği politikalar ile Türkiye’de uygulanan bölgesel planlama çalışmaları incelenmiştir. Yeni Bölgeselcilik anlayışının bölgesel stratejik araçlarından biri olan (bölgesel) kalkınma ajanslarının bölgesel planlama ve bölgesel kalkınma açısından önemine değinilmiş ve ajansların ortaya çıkış süreci ve görevleri irdelenmiştir. Türkiye’de bölgesel planlama çalışmalarında Yeni Bölgeselcilik anlayışının araçlarının planlamaya yön vererek uygulamaya dökülmesi önerilmiştir. Elde edilen inceleme sonuçları doğrultusunda Türkiye’de uygulanan bölge planlarına ve bölgesel gelişim politikalarına yeni bir bakış açısı sağlanması hedeflenmektedir. Bu sonuçlardan yola çıkılarak Türkiye’deki bölgelerin bölgesel olarak gelişimi ve diğer ilgili çalışmaların yapılabilirliği için bölgesel kalkınma ajanslarına belirli bir rol verilmesi önermesi yapılmıştır.
The large, wooden panel inscribed with the Law of Moses in Leerdam’s Grote Kerk is a striking example of a ‘Ten Commandments panel’, a common decorative element in Dutch churches after 1572, the year in which the Northern Netherlands rebelled against Spanish rule. This year also marks the switch from Roman Catholicism to Protestantism as the public religion of the young Dutch Republic. In church buildings elements associated with Catholic worship made way for large and richly decorated panels bearing biblical texts, of which the text of the Ten Commandments was by far the most popular. Of the 223 known examples 155 are still to be found in church buildings today. The Ten Commandments panel in Leerdam’s late-medieval church is distinguished by its baroque monumentality, by the presence of the date 1698, and by the coat of arms of the Stadholder William III (1650-1702), Prince of Orange and King of England, Scotland and Ireland, who also bore the title of Count of Leerdam. The customary location for a panel with the Law of Moses is the boundary between choir and nave. It was in the choir that the Lord’s Supper was usually celebrated, the sacrament recalling Christ’s sacrifice in both Roman Catholic and Protestant worship. The panel with the Ten Commandments, usually affixed to the choir screen above the entrance to the choir, refers to the mercy of Christ, who fulfilled the Law through the shedding of His blood. A fine example of this placement in the early Protestant period can be found in Leiden’s Pieterskerk.
The panel in the church in Leerdam was originally located above the western entrance to the nave and formed a unit with the portal. In the eighteenth century it was placed above a new wooden porch in the choir screen, but after this later addition was removed during the most recent restoration of 1957-1960, the panel was relocated to the north transept where it now stands against a blank wall. The lower double door zone has been replaced by oak panelling. The panel’s most distinctive feature is the sculpted, painted and partially gilded coat of arms of William III in the broken, segmental pediment above the classicist framing of the twin tablets of the Law. The shield is flanked by the ornaments of the Order of the Garter, while the plinth bears the monogram W : R (Willem Rex).
There is currently no evidence to suggest that the panel was gifted to the church by William III in his capacity as Count of Leerdam. Nor is the motivation for placing the panel in the church entirely clear. Whereas painted glasses, organs and baptismal and Lord’s Supper utensils decorated with the coat of arms of members of the House of Orange-Nassau are generally considered to be gifts, that is probably not the case for panels inscribed with biblical texts and decorated with the Orange-Nassau coat of arms. It is more likely to have been an act of homage to high authority, in the case of Leerdam a tribute to its count, William III.
<p><span style="font-family: Calibri;">Architecture, urban planning and design professions use new information technologies, established with a set of tools for digitization and visualization of design solutions and proposals. Next to this operational function, new types of data representation and visualization in different media formats including drawing materials, maps, photographs, graphics, animations, video content and other hypertext materials, enhance the communication and interaction abilities as well. With the use of data visualization tools in urban and architectural history, perception of exhibited materials in digital collections, similarly increases the skills on narrating history via graphical and visual expressions for related professions. This paper aims to discuss digital representation and multimedia uses in narrating urban and architectural history through an exhibition case, which enlarges such opportunities with a methodological experiment for interpreting historical context of four different cities, individually. Narrating urban history by overlaying different media formats from selected archives, this exhibition “Urban Intermedia: City, Archive, Narrative” presents its experiment in a methodology of combining professional practices from architecture, urban studies, and graphical design. Media used in the exhibition and entire information content may help visitors to follow urban, social, political and ecological processes through changes in professional networks, crucial for understanding with their historical background.</span></p><p><span style="font-family: Calibri;">DOI: <a href="https://doi.org/10.20365/disegnarecon.21.2018.17" rel="noopener" target="_blank">https://doi.org/10.20365/disegnarecon.21.2018.17</a><br /></span></p><p> </p>