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This study is about the expression of sketches in Steven Holl's architectural works. Holl shares his architectural ideas as watercolors with his staff, and he has established an original notational expression for the design process. This study investigates the elements of sketches as a notation method and examines the timeline changes.

Classification will be conducted using KJ method (Kawakita Jiro method), a method for organizing information developed by the Japanese cultural anthropologist Kawakita Jiro. Using the KJ method, this study compiled a list as a table about the pictures, letters, etc. in the sketches and grouped them together in the same attributes. The attributes that were grouped together were identified as elements of the sketches.

As a result, in the early 1970s, Holl used only line drawings for sketches, but since the 1980s, watercolor sketches have been increasingly used. Extracting the elements of sketches, it can divide them into drawing and describing expressions and classify them into three main types of pictorial expressions: Overview, Plan and Concept.

This study has shown that the closer the sketches were to the present, the more they combined elements of a more complex sketch with letters and symbols as well as pictorial expressions. This is the first study to investigate about sketch representations established as notations by Steven Holl. This study identified the elements that make the architectural concept visible through sketches.

This paper examines the relationship between traditional timber frame structure and the diasporic identity of the Southern Fujianese Chinese community in West Malaysia. It analyses the cultural semiotics of Southern Fujianese traditional Chinese temple timber frame structure architectural language. This study addresses the under-examined domain of Chinese cultural identity representation through the architecture of traditional Chinese temples in Malaysia. It seeks to understand its underlying structure and process involved in revealing its disposition within the cultural phenomena from the perspective of Chinese cultural semiotics.

Selected Southern Fujianese traditional Chinese temples in West Malaysia built between the 18th to the 19th century that retain the traditional timber frame structure were investigated through field survey and focused publication review. Historical interpretive analysis and typological analysis supplement the cultural semiotics analysis to assess the timber frame structure attributes concerning architectural language expressions.

Findings reveal that the architectural language signifiers of the structural disposition of the timber framework and its corresponding formal articulation establish a clear statement of the Southern Fujian Chinese cultural identity.

The evaluation of the cultural identity signifiers helps to understand the underlying structure and process of the Chinese cultural semiotics in architecture. Results of this research substantiate the significance of timber frame structure in preserving the architectural heritage of the Southern Fujianese traditional Chinese temples. They provide important references for conservation and cultural studies of such building typology.

In the face of urbanisation, there has been prior and current discourse on the gradual thinning out of street identities. Particularly, the diasporic identity of streets such as Petaling Street (Chinatown) has received increasing attention due to diverse development and gentrification plans for the purpose of tourism and urban development. Current and future urban development plans of Kuala Lumpur have led to the need to analyse Petaling Street's identity. Taking this as a point for departure, this paper aims to analyse the contemporary diasporic identity of Petaling street in the face of rapid urbanisation. While there have been studies that addressed Petaling Street's identity, the focus has been from social, cultural and perceptual perspectives which relates to the intangible aspect of place. Taking an alternative stance, this paper studies the contemporary meaning of Petaling Street through the visual communication of facades.

Adapting from Odgen–Richard and Parsaee, semiotics, or the study of signs and symbols, is applied as both theoretical and methodological concept to draw meanings. It examines the visual communication of the cultural products that have evolved from the social processes in shaping the street character. Particularly, this paper examines the street identities by studying the contestation of urban sign and symbols of selected street facades.

The findings reinforced the contestation of identities in Petaling street, with key signifiers of signages, ornament and colour being physical aspects that contest a sense of Chinese-ness. The functional meaning portrayed by the facades due to social, political and economic factors led to the contestations of meaning formed by society that has left the street in a state of irrelevant and unfamiliarity.

It calls to action for retention of significant urban elements of street facades to prevent further diminution of diasporic meanings which characterise Petaling Street as a whole in the process of urbanisation.

It provides basis to understand the contemporary identity and values of Petaling Street and the shift in meanings that has left the street in a state of irrelevant and unfamiliarity. This can prevent further diminution of diasporic meanings which characterise Petaling Street as a whole in the process of urbanisation.

The paper aims to examine the concept of architectural design communication (ADC) for updating design studio dynamics in architectural education during the Covid-19 pandemic. Within this perspective, the changing and transforming contents of architectural education, the thinking, representation and production mediums are examined through the determined components of ADC. There are five components in the study, which are (1) Effective Language Use, (2) Effective use of Handcrafts, (3) Effective Technical Drawing Knowledge, (4) Effective Architectural Software Knowledge and (5) Outputs.

The research method is based on qualitative and quantitative methods; a survey study is applied and the comparative results are evaluated with the path analysis method. The students in the Department of Architecture of two universities have been selected as the target audience. Case study 1 survey is applied to Altinbas University (AU) and Case study 2 survey is applied to Universitat Politecnica de Valencia (UPV) students during the COVID-19 pandemic; ‘19-‘20 spring term, online education.

As a result, two-path analysis diagrams are produced for two universities, and a comparative analysis is presented to reveal the relationships of the selected ADC components.

This paper fulfills an identified need to study how ADC can be developed in online education platforms.

The entirety of a region’s architectural expressions, that is, its building culture, has a strong impact on a region’s atmosphere. Being a collective and networked endeavour, building culture is difficult to coordinate. Against this background, this chapter presents an empirically informed reflection on architectural governance. The chapter is based on a multiple case study which compares five regions in the European Alps in terms of their coordination mechanisms in the areas of architecture and spatial planning, that is, architectural governance. The analysed regions include Grisons (Switzerland), Vorarlberg, Tyrol (both Austria), South Tyrol and Trentino (both in Italy). By combining conceptual considerations with empirical evidence, the chapter concludes with hypothesised relationships between architectural governance, building culture, socio-economic development dynamics and tourism.

Fresh out of the two-century-old British legacy, Bangladesh, formerly known as East Pakistan from 1947 to 1971, was searching for a post-colonial architectural style. Colonial architecture in the region in general often imposed imported European elements, ignoring the preceding legacies of the Sultanate and the Mughals. The critical challenge was to find a balance between the prevailing high modernism in architecture and the local vernacular and climatic forces. The Pakistani government invited international architects to fill the gap left by a non-existent local architectural industry. Unfortunately, their work has rarely been properly analyzed. With selected case studies, this paper analyzes their work in an attempt to explore their contribution to creating a national architectural identity.

This study uses a case study approach with selected architectural projects from the period. It uses research tools such as systematic analysis of drawings, volumes and photographs and archival research.

The international architects took inspiration from the strong vernacular and climatic forces of the region. The resultant expressions of the two-decade-long search in their combined body of work are some of the finest examples of vernacular and climate-responsive architecture in the region. They transcended the regular international style and became context-specific and unique. The quest for East Pakistan's post-colonial architectural identity was partially met by the newly found identity through vernacular and climate-responsive adaptation in architecture.

This study explores how a unified vernacular and climate-responsive adaptations potentially shaped the post-colonial architectural identity of the region. No prior study exists on this issue for the time period.

The purpose of this paper is to examine shared principles of “irreducibility” or “undecidability” in second‐order cybernetics, architectural design processes and Leibniz's geometric philosophy. It argues that each discipline constructs relationships, particularly spatio‐temporal relationships, according to these terms.

The paper is organized into two parts and uses architectural criticism and philosophical analysis. The first part examines how second‐order cybernetics and post‐structuralist architectural design processes share these principles. Drawing from von Foerster's theory of the “observing observer” it analyses the self‐reflexive and self‐referential modes of production that construct a collaborative architectural design project. Part two examines the terms in relation to Leibniz's account of the “Monad”. Briefly, developing the discussion through Kant's theory of aesthetics, it shows that Leibniz provides a “prototype” of undecidable spatial relations that are also present in architectural design and second‐order cybernetics.

The paper demonstrates that second‐order cybernetics, architectural design and metaphysical philosophy enable interdisciplinary understandings of “undecidability”.

The paper seeks to improve understanding of the geometric processes that construct architectural design.

The paper explores interdisciplinary connections between the disciplines, opening up potential routes for further examination. Its analysis of the aesthetic and geometric value of the Monad (rather than its perspectival value) provides a particularly relevant link for discussing the aesthetic production and experience of spatial relations in second‐order cybernetics and contemporary architectural design.

Adaptive reuse entails the physical modification of abandoned architectural structures, with the activation of processes and practices leading to the re-incorporation of heritage into the contemporary life of communities. This transformation entails an affective adaptation, a re-modulation of how citizens attune to a built environment that has been returned to urban, shared forms of use. By observing the emotional ties that are established between subjects and the spaces they inhabit, affecting forms of dwelling, attachments and corporeal responses, the author can clarify how adaptation purports this affective modification, where the original ambiance is not necessarily altogether overwritten, but may rather merge with the supervening situation to give life to unique assemblages of spatialized feelings.

Drawing from contemporary phenomenological theories, with their specific focus on the affective and embodied dimension of lived experience, this paper describes and discusses two instances of adaptive reuse, one in Brussels, the second in Rome, highlighting their different processes and spatial outcomes.

The paper implements recent literature on spatial experience to bring to light conditions found in cases of adaptive reuse. By describing the generators of shared emotions – objects, movements, expressions, materialities, textures – it highlights how the layering of the physical world can lead to both the domestication of affects and to discrepancies and discontinuities in the fabric of experienced space.

There is only a limited literature dedicated to the description of adaptive reuse processes from the contemporary phenomenological perspective. This kind of description can clarify the dynamics unfolding between citizens and experienced space in cases of heritage reuse.

This paper aims to expose the direct and indirect impacts of changing culture and society principles on the built environment, architectural scene and practice. Studying culture-architecture forceful formula in present-day Iraq, as not previously discussed, reveals how cultural shift affects the public image of architectural form, uses and activity system, thus how latter issues highlight or predict society deterioration or collapse.

Comparing and analysing past and contemporary works, highlighting strange values emerged later, personal survey and observing house forms, in-depth interviews, photos and architectural drawings are a set of methodological tools used in approaching research main objective.

Findings include two mutual systematic approaches. The first is to define, acknowledge and understand previous criteria, while the second is to disclose responsible authorities and institutions and their role in addition to necessary procedures to correct or minimize the impact of various changes on the contemporary architectural situation.

Contemporary Iraqi society and culture have been dealt with as distorted and destructive, where various unacceptable values describe its current image compared to the noble form of the inherited. As a true expression and a visible manifestation of culture with which it interacts, degraded architecture and urbanism in contemporary Iraq provide an accurate picture of the current state of society, its values, principles and beliefs.