That cities will change is indisputable: urban evolution mostly signifies healthy growth, but it is also true that in the contemporary context, gentrifying neighborhood change increasingly operates on an extraterritorial plane, happening quickly, opportunistically and unilaterally. Neighborhoods are evaluated and disposed of as trading commodities in a process that violates the citizen’s fundamental right to the expectation of a stable dwelling situation. Gentrification also threatens a city’s spatial heterogeneity which, through its diverse forms and meanings, can support the enactment of democratic urban life. It leaves little room for a broader discourse around place – a discourse that might lead to the creation of more porous urban space, to the emergence of hybrid institutions and to new sites of pluralistic engagement. This paper will consider a pair of contiguous neighborhoods in Philadelphia where market-driven gentrification has come face to face with powerful grassroots civic advocacy; and it looks at what architects, landscape architects and urban designers can do to help neighborhoods resist gentrification and support heterogeneity in making places where the hand-print of multiple publics might be found.

Social-impact design challenges many of the assumptions that guide architectural practice such as: What should we design? What program should we design to? What site should we design on? Who should be involved in the design? And what else needs designing beyond what we have been commissioned to do? In raising these questions, social-impact design essentially inverts the expertise model that has guided both architectural education and practice and leads to a more open and responsive mode of practice that looks for the underlying reasons why a problem or need has occurred and the larger systemic issues that surround the project and that may require redesigning themselves. Through a series of social-impact design projects conducted by the Minnesota Design Center at the University of Minnesota, this essay explores what this means in specific ways, through actual projects with diverse communities of people.

As the world population is increasing at unprecedented rates and wastelands are extending at a variety of new scale and in various spaces organizing the sprawling landscape, the line between formal and informal settings, God’s eye view planning walled off from the outside world and temporary structures seems to intensify. There is an urgency to reverse such inefficient growth with its consequent inhuman conditions and better plan world’s cities by means of urbanization. The Urban Age “Shaping Cities” Conference at the Venice Biennale (July 14-15, 2016) with the exhibition Conflicts of an Urban Age explored the connections among the political, economic and social city with the scale of its physical and urban form. Addressing themes such as expansion, redevelopment, adaption and confronting speakers and urban solutions from different backgrounds, the conference questioned the role of planning in the definition of more inclusive, safe, resilient and sustainable cities. The theme reconnects to Habitat III, the UN global cities summit set for Quito, Ecuador, in October 2016 implementing the New Urban Agenda for the world’s rapidly urbanizing areas.

In 1963, Constantinos Doxiadis, Buckminster Fuller and Marshall Mc Luhan signed, among others, the little known “Delos Declaration,” which alerted the world that the “problem of expanding urban area may soon outstrip all other problems facing mankind, except that of nuclear war.” In the year 2016, it is clear to most that the “urban meltdown” has indeed outstripped “all other problems facing mankind, ‘including’ the possibility of nuclear war” and the reality of the financial meltdown, of which it is a direct result and from which there is no U-turn. How can we assure that modern cities develop a regenerative relationship to the living world on whose health they ultimately depend?

The current scenario is dominated by the Redundant City whose march cannot be stopped ex-ante. Staying clear of Renzo Piano’s misguided (and falsely politically correct) rhetoric of urban mending, through "urban adjustments" we have a shot at trying to restore a sense of urbanity or “cityness” to constantly growing, shapeless conurbations. “Urban Hacking” argues for a new way to organize our urban systems, and for thinking and acting beyond what is considered “sustainable” development. Urban Hacking aims at establishing a healthier relationship between Natur and Kultur. The theory sponsors a new attitude towards urban matter based on little talked about modus operandi like demolition, recycling, multi-scaling and urban hacking.

Urban Hacking may eventually lead to a Dörfer-Großstadt (metropolis of villages), namely an adjustable planning concept to counter the various redundancies of our time.

China has had to deal with the huge architectural and urban development challenges created over the past fifty years. China’s economic growth model has been based on accelerated consumption and manufacturing, with inevitable and significant environmental and social consequences. The model discussed in this paper seeks to employ the principles of sustainability in a specific urban development context: the massive Beijing-Hangzhou Canal, the longest artificial waterway in the world. The model simulates a macro strategy for the redevelopment of this ancient water system utilizing and adapting highly successful traditional Chinese planning methods for urban, wetland and rural areas. Elements of this model could serve as the basis for effective future Chinese urban development in similar contexts. China has already begun actualizing policies and strategies to address major concerns about environmental and social issues. The proposed model is intended to contribute to this endeavour and to promote sustainable growth in the most populated country in the world. The project outlined in this paper shows that the planning elements that inspired Marco Polo’s admiration for Chinese cities are still highly relevant in a country increasingly damaged by inappropriate and standardized international urban development approaches.

The deep social transformations occurred in the last decades have deeply affected the patterns of urban living. In this sense, experimentation on housing plays the dual role of investigation and validation of our hypothesis that residential space should reflect new life-styles. At the beginning of the 21st century, social housing represents the main field for experimentation.

In the current architectural scenario, many interesting experimentations on contemporary housing can be observed.

The approach proposed in this article starts with post-occupancy evaluation of some case-studies extracted from extensive research on European case-studies realized projects. It then analyzes the results of such evaluation to abstract issues concerning different aspects of contemporary living that could be coped at the design level. This method combines spatial and typological research, issues about housing and planning approaches developed by the promoters of the case-studies discussed. Providing quality social housing involves the coordination of multiple actors and synergies..

For more than 20 years, Rachel Whiteread has situated her sculpture inside the realm of architecture. Her constructions elicit a connection between: things and space, matter and memory, assemblage and wholeness by drawing us toward a reciprocal relationship between objects and their settings. Her chosen means of casting solids from “ready-made” objects reflect a process of visual estrangement that is dependent on the original artifact. The space beneath a table, the volume of a water tank, or the hollow undersides of a porcelain sink serve as examples of a technique that aligns objet-trouvé with a reverence for the everyday. The products of this method, now rendered as space, acquire their own autonomous presence as the formwork of things is replaced by space as it solidifies and congeals. The effect is both reliant and independent, familiar yet strange. Much of the writing about Whiteread’s work occurs in the form of art criticism and exhibition reviews. Her work is frequently under scrutiny, fueled by the popular press and those holding strict values and expectations of public art. Little is mentioned of the architectural relevance of her process, though her more controversial pieces are derived from buildings themselves – e,g, the casting of surfaces (Floor, 1995), rooms (Ghost, 1990 and The Nameless Library, 2000), or entire buildings (House, 1993). From an architect’s perspective, Whiteread offers an unsettling interpretation of architectural space, one that is dependent on filling space to the brim, barring life from entering or holding it in suspended animation from within. This paper argues that architectural form, whether fashioned from contingencies or autonomous acts, has reached a saturation point in architectural criticism. The work of Whiteread helps forge an alternative reading that embraces the object-oriented methods inherent in design by turning the tables on our fascination of figural form and the obsession of substance. The essay analyzes several of Whiteread’s projects in order to explain the meaning and techniques of her work, and places them within the context of Luigi Moretti’s 1953 essay on the “Structures and Sequences of Spaces.” It concludes with research work that attempts to use Whiteread’s method to better understand the figural and material attributes of architectural space.

Grossformen im Wohnungsbau is the title of an unassuming pamphlet that German architect O.M. Ungers published in 1966 as part of the Veröffentlichungen zur Architektur series (VzA #5) during his tenure at the TU Berlin in the 1960’s. In it Ungers reimagines the singular architectural intervention at a scale between architecture and urbanism as a counter measure to the rapid urbanization brought about by Europe’s postwar boom. The formal coherence of Grossform (literally meaning “large form” in German) could provide a framework within which the unplannable processes of the contemporary city played out, while acting as stable markers of identity in an expanding urban field of increasing formlessness. Many of the ideas introduced in Grossformen would resurface throughout Ungers’ career, and eventually find their way into the better known Green Archipelago project. But where the morphologically pure islands in the Green Archipelago form a “dialectic city” only as a federation of ideal fragments, the scaleless concept of Grossform equally suggests the possibility of the island itself becoming a “dialectic object,” containing the exacerbated differences of the archipelago within. Faced with an urban environment in which traditional tools of urbanism have come to be swept away irrevocably by a limitless proliferation of building production, this reconsideration of the urban agency at the architectural scale appears highly pertinent today. Reconstituting the conceptual underpinnings of Grossform and outlining the trajectories of the “dialectic city” and “dialectic object” in reference to Ungers’ work, this paper aims to contribute to the (re)emergent debate on the conditions and constitutions of the architectural object: Through the combination of programmatic neutrality and formal specificity, Grossform may serve as the starting point for a contemporary paradigm in which the architectural object carries renewed urban relevance beyond its bounded form.

Tolerance lies at the crux between the contingencies of context and autonomous production. The problem of detailing lies, in part, on understanding that the detail, from its representation to its actualization, is the architecture: tolerance is what transpires in the transformation. It is a byproduct of the disciplinary autonomy of architecture that is created out of understanding contingency: designing with it is the making of architecture. The whole is no thing without its parts.

Historian Kenneth Frampton discusses "tectonics" as a series of opposites, particularly between the “ontological” and the “representational.” The design of details is thus suspended between what it “is” and its appearance. What is crucial to consider in this relationship is that the construction of those details must be designed in any work of architecture. In the translation from drawing to built work, the design must accommodate reality: the imprecision of equipment, humans, materials, and site. The literal gaps given over to “reality” are what we understand as tolerances.

Tolerance exists between the lines of a drawing, but it is virtually the only way to ensure a building can be created on site. It can also be seen as something outside the control of the architect – a building is contingent on the tolerances supplied by manufacturers and agreed upon with contractors. The gymnastics of designing for or with tolerance is typically done behind the scenes so that the representation of the building (idea) and the building (form) appear the same.

This essay will explore architects with a particular insight into tolerance, and who seek to maintain control of the parameters of variability inherent to the design of construction through details. The work of architects including SHoP, Kieran Timberlake, and Frank Gehry will be considered for their attitude towards and understanding of the nature of tolerance. Their work will be studied from built object back through the design process, examining the ways in which tolerance is tied to tectonic expression, where the parts (and what lies between them) facilitates the whole.