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ARQUITECTONICS
MIND, LAND & SOCIETY
CULTURA,
ARQUITECTURA
Y DISEÑO
AMOS RAPOPORT
ARQUITECTONICS
MIND, LAND & SOCIETY
5
CULTURA,
ARQUITECTURA
Y DISEÑO
AMOS RAPOPORT
Directores de la colección:
Josep Muntañola Thornberg
Luis Ángel Domínguez
Primera edición: febrero de 2003
Dibujo de la portada: Amos Rapoport
Gráficos interiores: Amos Rapoport
Diseño gráfico:Luis Ángel Dominguez
Maquetación: Wilson Mogro Miranda
Diseño y fotografía de la portada: Wilson Mogro Miranda
©
Amos Rapoport
©
Edicions UPC
Edicions de la Universitat Politècnica de Catalunya, Sl
Jordi Girona Salgado, 31. 08034 Barcelona
Tel. 934 016 883 Fax 934 015 885
Edicions Virtuals: www.edicionsupc.es
E-mail: edicions-upc@upc.es
Producción:
Copisteria Miracle S.A.Rector Ubach 6-10, 08021 Barcelona
Depósito legal: B-4105-2003
ISBN: 84-8301-680-X
Quedan rigurosamente prohibidas, sin la autorización escrita de los titulares del copyrigth, bajo las sanciones establecidas en las leyes,
la reproducción total o parcial de esta obra por cualquier medio o procedimiento, comprendidos la reprografía y el tratamiento
informático, y la distribución de ejemplares deella mediante alquiler o préstamo públicos.
Índice
Table of Contents
5
Introducción
Introduction
I
La naturaleza y el papel de los estudios
de la relación entre el entorno y el comportamiento humano (EBR)
21
The Nature and Types of
Environments
II
Naturaleza y tipos de entornos
33
The Importance of Culture
III
La importancia de la cultura
61Preference, Choice and Design
IV
Las preferencias, la elección y el diseño
87
The Nature of Culture
V
La naturaleza de la cultura
129
The ‘Scale’ of Culture
VI
La «escala» de la cultura
141
Making ‘Culture’ Usable
VII
Haciendo «utilizable» la cultura
157
Examples of application
VIII
Ejemplos de aplicación
171
Posdata: la necesidad del diseñoabierto
207
The Nature and Role of
Environment-Behavior Studies
Postscript: The need for openended design
ARQUITECTONICS
3
Introducción
Introduction
ARQUITECTONICS
5
Introducción
The underlying premise of this book is
that architecture is not a ‘free,’ artistic
activity, but a science-based profession which is concerned with problem
solving. Moreover, theseproblems
need to be discovered and identified,
not ‘defined’ by designers, i.e. not invented. It, therefore, follows that architecture and related design fields
such as urban design, landscape architecture, interior design and, up to a
point, even product design, together
comprise the field of environmental
design. This is the term I will use
throughout.
The purpose of environmental design
isnot for its practitioners to express
themselves ‘artistically.’ An ‘extreme’
formulation of the consequences of this
position is that designers’ satisfaction
should come from problem identification and solving. Designers might
thus need to produced environments
which they themselves may detest, if
they work for the users concerned. The
purpose of design is then to create
environ-ments,and their constituents
parts, that suit users, i.e. settings and
their ‘furnishings’ that are supportive
for these users, their wants, activities
and so on. I thus take design to be
user oriented, designers being surrogates for users. This means that the
products of such design (buildings
and other physical environments)
must be based on an understanding
of human cha-racteristics, must fit,and be supportive, of those. This will
be elaborated later, but in the case of
this book, designs need to respond to
‘culture,’ i.e. be culture-specific.
It then follows that design must be
based on knowledge of how people
and environments interact, i.e. on research (basic and applied) on environment-behavior relations (EBR)—design becomes the application of research-based knowledge....
MIND, LAND & SOCIETY
CULTURA,
ARQUITECTURA
Y DISEÑO
AMOS RAPOPORT
ARQUITECTONICS
MIND, LAND & SOCIETY
5
CULTURA,
ARQUITECTURA
Y DISEÑO
AMOS RAPOPORT
Directores de la colección:
Josep Muntañola Thornberg
Luis Ángel Domínguez
Primera edición: febrero de 2003
Dibujo de la portada: Amos Rapoport
Gráficos interiores: Amos Rapoport
Diseño gráfico:Luis Ángel Dominguez
Maquetación: Wilson Mogro Miranda
Diseño y fotografía de la portada: Wilson Mogro Miranda
©
Amos Rapoport
©
Edicions UPC
Edicions de la Universitat Politècnica de Catalunya, Sl
Jordi Girona Salgado, 31. 08034 Barcelona
Tel. 934 016 883 Fax 934 015 885
Edicions Virtuals: www.edicionsupc.es
E-mail: edicions-upc@upc.es
Producción:
Copisteria Miracle S.A.Rector Ubach 6-10, 08021 Barcelona
Depósito legal: B-4105-2003
ISBN: 84-8301-680-X
Quedan rigurosamente prohibidas, sin la autorización escrita de los titulares del copyrigth, bajo las sanciones establecidas en las leyes,
la reproducción total o parcial de esta obra por cualquier medio o procedimiento, comprendidos la reprografía y el tratamiento
informático, y la distribución de ejemplares deella mediante alquiler o préstamo públicos.
Índice
Table of Contents
5
Introducción
Introduction
I
La naturaleza y el papel de los estudios
de la relación entre el entorno y el comportamiento humano (EBR)
21
The Nature and Types of
Environments
II
Naturaleza y tipos de entornos
33
The Importance of Culture
III
La importancia de la cultura
61Preference, Choice and Design
IV
Las preferencias, la elección y el diseño
87
The Nature of Culture
V
La naturaleza de la cultura
129
The ‘Scale’ of Culture
VI
La «escala» de la cultura
141
Making ‘Culture’ Usable
VII
Haciendo «utilizable» la cultura
157
Examples of application
VIII
Ejemplos de aplicación
171
Posdata: la necesidad del diseñoabierto
207
The Nature and Role of
Environment-Behavior Studies
Postscript: The need for openended design
ARQUITECTONICS
3
Introducción
Introduction
ARQUITECTONICS
5
Introducción
The underlying premise of this book is
that architecture is not a ‘free,’ artistic
activity, but a science-based profession which is concerned with problem
solving. Moreover, theseproblems
need to be discovered and identified,
not ‘defined’ by designers, i.e. not invented. It, therefore, follows that architecture and related design fields
such as urban design, landscape architecture, interior design and, up to a
point, even product design, together
comprise the field of environmental
design. This is the term I will use
throughout.
The purpose of environmental design
isnot for its practitioners to express
themselves ‘artistically.’ An ‘extreme’
formulation of the consequences of this
position is that designers’ satisfaction
should come from problem identification and solving. Designers might
thus need to produced environments
which they themselves may detest, if
they work for the users concerned. The
purpose of design is then to create
environ-ments,and their constituents
parts, that suit users, i.e. settings and
their ‘furnishings’ that are supportive
for these users, their wants, activities
and so on. I thus take design to be
user oriented, designers being surrogates for users. This means that the
products of such design (buildings
and other physical environments)
must be based on an understanding
of human cha-racteristics, must fit,and be supportive, of those. This will
be elaborated later, but in the case of
this book, designs need to respond to
‘culture,’ i.e. be culture-specific.
It then follows that design must be
based on knowledge of how people
and environments interact, i.e. on research (basic and applied) on environment-behavior relations (EBR)—design becomes the application of research-based knowledge....
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