By Mary Ann Steane, Koen Steemers

This e-book takes the location that the dynamic of the architectural atmosphere is a key element of fine layout, but one that isn't really good expected or understood. Environmental sort is a layout attribute heavily with regards to our event of structure - an structure of the senses. every one bankruptcy demonstrates how an figuring out of a selected context or environmental attribute in dynamic phrases informs layout. The booklet is an antidote to the misconceptions of 'optimum' environmental functionality or fastened standards, in its place embracing the richness of environmental type.

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This is not a critique of environmental scientists, who were, after all, among the people who first alerted us to the consequences and practice of sustainability. On the whole, they would prefer to be able to believe in the projects to which they devote their expertise. The purpose of this (hypothetical) moment of choice is to place the two ‘goods’ side by side, in order to open the cultural context in which such practical judgements are made. Thinkers as different in other ways as Hannah Arendt (1958) and Michel Foucault (1994) agree that our imaginations have, as it were, regressed to being dominated by motifs of necessity.

By offering occupants the chance to determine their own microclimates, designers place responsibility for the specification of comfort as well as for sustainability and energy consumption firmly in the hands of the user. However, this line of reasoning bypasses the more important question of SOCIAL , ARCHITECTURAL AND ENVIRONMENTAL CONVERGENCE 27 what kinds of environments people of different cultures might aspire to and what conditions they might seek to reproduce when given the ‘choice’. Again we confront the basic question of where peoples’ senses of thermal and indoor environmental ‘normality’ come from.

This is perhaps to be expected. After all, people are full of contradictions, architecture is full of compromises and in this case there really are competing approaches. But by representing the problem as one of determining and meeting users’ needs — whether those be for optimally standardised conditions, for personal control, or for contrasting sensations — architectural and scientific commentators miss the rather important point that all of these ‘needs’ have a social and cultural history. More than that, such histories are profoundly marked by the built environment itself.

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