How do we treat those who make mistakes? And what does this have to do with architecture? The paper will investigate the role of architecture in the design of prisons in order to understand how we could develop a project for a jail that is a place for both punishment and rehabilitation. The effectiveness of a prison is not given only by the efficiency of the justice system in force, but also by the articulation of spaces and by the quality of the architecture. The contradiction of the prison is revealed by its need to respond to two opposing demands: punishment and reintegration. This paper investigates the possible design approaches aimed at designing a new jail typology, through an attempt to "break" the macro-themes that characterize the building of the prison and within these dichotomies work on the "boundary-line" between opposing realities: freedom―constriction; openness―closure; etc. If prison architecture were brought back into the debate regarding contemporary design culture, it could have a significant impact for society especially in terms of opportunities and cultural growth.

The research addresses the topic of intermodality in terms of technical, typological, and architectural response of infrastructure systems, considering their relationship with the territory and the landscape. The study starts from the hypothesis of the development of a comprehensive intermodal hub in the Ronchi dei Legionari Airport (Friuli-Venezia Giulia, Trieste, Italy), integrated with the network of local public transport and railway infrastructure, considered in a scenario of sustainability over the medium term and updated with respect to the current economic situation. The first phase of the research focused on the definition of the guidelines for the design of the intermodal hub. Subsequently, the study verified the hypothesis by modeling some alternative scenarios, whose results led to the identification of a highly comprehensive set of data, consistent with the financial framework. Lastly, urban verification: the identified scenarios constitute a framework of alternative options corresponding to the minimum, optimal and critical conditions of the system as a whole. The possible alternatives prove the degree of versatility of the proposed layout which provides, as a whole, the possibility of opting for one of the proposed scenarios or for a more complex combination of the proposed solutions.

The role of criticism is not to split, but rather to bring matters together in an assembly. Philosopher Bruno Latour makes the argument that the responsibility of the critic, (and, implicitly, critique), is not to divide, but instead to “offer the participants arenas in which to gather.” In light of Latour’s proposition, I will examine the generative and creative role of architectural criticism and some of the many guises under which it might take shape. I propose that the critical call of architecture is often hidden in plain sight in works that camouflage themselves under seemingly disengaged positions, and which, upon closer inspection, act as resources of architectural imagination. Specifically, I examine Saul Steinberg’s drawing “Doubling Up” (1946), the Splitnik (the American model-house showcased at the American Exhibition in Moscow, 1959), and Robert Venturi’s sign for the Grand’s Restaurant (Philadelphia, 1961-1962)

In architecture and related design fields, there is a perception that community participation in design requires a compromise with aesthetic quality. Alternatively, community-built design (the practice of involving local residents in the design and construction of places) values both participation and aesthetics. Community-built practitioners value aesthetic quality because it instills a sense of pride in the project that in turn strengthens the connections between people and the place involved; it builds community. A qualitative analysis of articles written by and about community-built artists and designers illustrates how their processes work to respect the contributions of all participants while, at the same time, producing artful design solutions. Practitioners utilize a form of structured openness in their projects, processes, and roles. Community-built practices suggest that designers in fields such as architecture, landscape architecture, and urban design, should not think of participation and aesthetics as trade-offs but, instead, consider participation as an opportunity to bring new ideas into their work and to develop an aesthetic that reflects the richness and complexity of the participatory process.

One of the greatest challenges of contemporary cities is to engage with their emerging inequality. This research argues that public spaces play a key role in contrasting the process of this growing marginalization. The objective of this paper is to determine whether it is possible to contrast the spatial disparity within the contemporary cities, through the design of more “just” and inclusive spaces.

In the past two decades South Africa has been the subject of many studies regarding inequality and segregation, because of its entrenched history of apartheid and its severe imbalanced income distribution.

The desegregation process of Cape Town has been attempting to use public space as social infrastructure to bridge its divide. Firstly, the shift towards a more inclusive city happened in academic writing. Secondly, the shift also occurs in municipal public space programmes. And lastly, the shift materialized in several innovative projects, which have been carried out mainly in township areas. Through the analysis of this progression, it is possible to delineate some visible improvements – punctual but fundamental steps towards a “city for all.”

In this paper, the outcomes of a two-year design research study that investigated the impacts of architectural design on the social, cultural, and economic factors influencing the revitalization of the urban marketplace are summarized. These two case studies in designing and building urban markets in Central Texas — one in the city of Austin, and the other in the town of Bryan — are presented and synthesized. Both cases were initiated, designed, and built by university students in the disciplines of architecture, construction science, and landscape architecture, in collaboration with a cross-disciplinary oversight team of experts, government officials, and professionals. Platforms for engaging in active and dynamic learning experiences in the specific areas of planning, budgeting, and scheduling, as well as design and construction, within the broad field of community development, were provided to the students in both cases.

“Designing with Dignity” is a course that examines how Health and Design research can inform problem-solving for underserved communities. The educational arm of the new Center for Health in the Designed Environment (CHDE) received a foundation grant for a course entitled “Health and Design Research: Designing with Dignity” that was piloted spring 2016. In this pilot, students from multiple disciplines examined the relationship between the built environment, health and behavioral health issues. The course linked these issues with the over-arching theme of housing insecurity. Within this central theme, the students were particularly concerned with underserved groups who may be suffering poor health outcomes due to their lack of access to safe and healthy living spaces. Frameworks within the course exposed the students to multi-level social determinants of behavioral health for underserved groups. Students then learned techniques to innovate solutions for these groups that would improve their limited access to housing resources. Taught by faculty from health and design, this curriculum is designed to help students ask questions and create solutions. They engage in a process that centers on melding human-centered design approaches with public health research. The course participants are taught to create fresh solutions that will have positive impacts on behavioral health in the urban environment.

This essay is conceived as a reaction to the past conference Shaping Cities of the Urban Age at the 2016 Venice Biennale, Reporting from the Front. In light of numerous global crises, urban explosion, housing shortages and rising social movements, contemporary architecture is increasingly being pushed to investigate the social dimension, impact and implications of urban design.

In particular, architectural education institutions and practices are expected to be more focused on the social fabric and to address current economic and politic scenarios. How could design dialogue positively influence the great social phenomena in cities where the scarcity of resources, migration, urban informality, global warming and economic crises are the most thriving endeavours? The essay speculates that the importance of labour of slums’ dwellers can assist planners and architects to design with social impact. Authors who study informal settlements usually do not mention that labour practices are the main driving force behind the design of slums. Labour is currently shaping the slums, in terms of material usage and otherwise.

The third prototype house for low-income classes designed in response to housing shortages in countries struck by natural disasters was built in Ho Chi Minh City. Thanks to passive design methods, natural lighting, a galvanized steel structure that weights only 1,200 kg set on a reinforced concrete foundation, the model combines quality control, cost management, easy transportation, DIY modular components and fast on-site construction. Now suitable for mass production, the S HOUSE project is designed to be flexible and adaptable to expansion or new uses as the next prototypes will showcase.

The Art Walk project is a stitched landscape that joins several art and media institutions in Grand Center, St. Louis. The current condition of Grand Center allows few moments of connectivity and sense of continuity between urban spaces. The project is divided into four multi-cultured zones that are currently separated by parking lots, pedestrian inaccessible easements, and gated buildings. The urban strategies are part architecture, art, and industrial design elements. They interface with landscape planning to engage the public in multiple scales of activity in order to bridge between discreet urban spaces.

In order to re-assess architecture’s critical role and redefine the disciplinary domain of its production, this essay looks beyond forms of technocratic utopias, while it historically analyzes operative theoretical contingencies relative to the “project” of the Italian Tendenza, which is examined as an historical form of ideological criticism of the discipline of architecture and its contentious relationship between intellectual and capitalistic production. Particularly, this essay explores the ideological and historiographical production of the 1960s and 1970s. This was when the term Rationalism and its theoretical body of work acquired renewed prestige replacing the ephemeral aesthetic of the Modern Movement with a grounded and critical discourse based on Aldo Rossi’s and Massimo Scolari’s position relative to the need for architecture to re-affirm its own statute, in order to free itself from any form of technocratic utopia. While questions of interdisciplinarity remain essential toward an understanding of future architectural contingencies, it is only by questioning the status quo of architecture and re-examining its past that a new sense of criticality can be generated.