Architectural narratives on building processes are admittedly rare in premodern histories. Accounts of visitors who observed and reacted to architecture in the making are even more exceptional. Moreover early modern audiences’ perceptions of music and architecture have been rarely explored in relation to building processes and synesthetic experiences. This article presents a critical reading of Caʿfer Efendi’ s “Book on Architecture” (1614) by focusing on its chapter on the Sultan Ahmed mosque (1609–17) in Istanbul. First, I demonstrate how Caʿfer associated sounds in the construction site with Sufi musical practices and the science of music. Second, I show how his conversation with a Sufi reveals the ways in which twelve types of marbles, four types of strikes, and seven types of foremen were linked to Ottoman music theory. Finally, the shared geometrical foundations of architectural tools and musical instruments that produced harmonious sounds and forms is revealed. I argue that the union of spatial, visual, and aural experiences of the building in the making produced various forms of knowledge for the visitors. Architecture’s mediating role for sensuous, spiritual, and scientific knowledge further illuminates the relation between theory and practice in Ottoman architecture.
{"title":"Harmonious Relationships: Sounds and Stones in Ottoman Architecture in the Making","authors":"G. Kale","doi":"10.16995/ah.8299","DOIUrl":"https://doi.org/10.16995/ah.8299","url":null,"abstract":"Architectural narratives on building processes are admittedly rare in premodern histories. Accounts of visitors who observed and reacted to architecture in the making are even more exceptional. Moreover early modern audiences’ perceptions of music and architecture have been rarely explored in relation to building processes and synesthetic experiences. This article presents a critical reading of Caʿfer Efendi’ s “Book on Architecture” (1614) by focusing on its chapter on the Sultan Ahmed mosque (1609–17) in Istanbul. First, I demonstrate how Caʿfer associated sounds in the construction site with Sufi musical practices and the science of music. Second, I show how his conversation with a Sufi reveals the ways in which twelve types of marbles, four types of strikes, and seven types of foremen were linked to Ottoman music theory. Finally, the shared geometrical foundations of architectural tools and musical instruments that produced harmonious sounds and forms is revealed. I argue that the union of spatial, visual, and aural experiences of the building in the making produced various forms of knowledge for the visitors. Architecture’s mediating role for sensuous, spiritual, and scientific knowledge further illuminates the relation between theory and practice in Ottoman architecture. \u0000","PeriodicalId":41517,"journal":{"name":"Architectural Histories","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42291769","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-02-22DOI: 10.3390/histories2010005
Brenda Man Qing Ong, Francesco Perono Cacciafoco
At the eastern entrance of the Singapore Strait lies Pedra Branca, an island of granite rock situated in hazardous waters. Its unexceptional presence belies a rich cartographical history and infamous reputation for leading ships to grief since antiquity. Pedra Branca was first pushed into the spotlight when the British constructed the Horsburgh Lighthouse in 1851. It later caught international attention when a heated territorial dispute for the island between Singapore and Malaysia arose, lasting from 1979–2018, with the International Court of Justice (ICJ) eventually granting rights to Singapore. The ensuing legal battle led to renewed interest in the geography and post-19th century history of the island. The most recent breakthrough, however, provides a glimpse into an even earlier history of Pedra Branca—and by extension, Singapore—as shipwrecked remains dating from the 14th century were uncovered in the surrounding waters. Historical research on the ancient history of Pedra Branca has been mostly neglected by scholars over the years; thus, this paper aims to shed some light on this enigmatic history of the island and at the same time establish its history and significance by utilizing pre-British-colonization historical cartographical data from as early as the 15th century.
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Pub Date : 2022-02-09DOI: 10.3390/histories2010004
Rigorous peer reviews are the basis of high-quality academic publishing [...]
严格的同行评议是高质量学术出版的基础[…]
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For most of its two-century-long existence from about 1810 to 1994, Hong Kong’s Kowloon Walled City housed built structures, but its classification as architecture has remained tenuous. Not until the years prior to its demolition did it receive sustained attention from architects and architectural historians as a dense, slum dwelling of informal multi-story buildings. However, the architectural nature of the six-acre area predated its late 20th-century state. From its founding as a Qing military outpost, it sustained various structural additions and renovations, including an imperial Chinese administrative complex known as a yamen [衙門] and an outer wall, after which the Walled City was named. Against the grain of scholarship that has focused on the Walled City’s postwar, informal architecture, this paper considers the site’s early years, arguing that the Walled City’s yamen [衙門] and outer wall played an outsize role in the region’s land management practices. These two architectural structures make legible the Walled City’s evolution from a Qing administrative zone to a crowded slum dwelling. The Convention of 1898 ushered in a British-led land surveying effort throughout the New Territories region of Hong Kong, followed by the creation of an intricate bureaucracy for managing land lots. This clash of empires thus saw the use of two forms of land knowledge—Qing land deeds and British cadastral land surveys—in Hong Kong. In between these systems existed the Walled City, its inhabitation falling outside the British conception of land division, but its historical contours very much shaped by the architectural boundaries that gave it its name.
在大约1810年至1994年长达两个世纪的历史中，香港九龙寨城的大部分时间里都有建筑，但它作为建筑的分类仍然很脆弱。直到拆除前几年，它才受到建筑师和建筑历史学家的持续关注，因为它是一个由非正式的多层建筑组成的密集的贫民窟。然而，这片占地6英亩的土地的建筑性质早于20世纪晚期的国家。从作为清朝的军事前哨开始，它进行了各种结构的增加和翻新，包括一个被称为衙门的中国帝国行政建筑群[衙]和一个外墙，城墙就是以它命名的。与关注城墙战后非正式建筑的学术研究不同，本文考虑了该遗址的早期，认为城墙的衙门[衙]和外墙在该地区的土地管理实践中发挥了巨大的作用。这两种建筑结构清晰地展现了寨城从清代行政区到拥挤贫民窟的演变过程。1898年的《香港土地公约》(Convention of 1898)开启了英国主导的香港新界地区土地测量工作，随后建立了一个复杂的机构来管理土地。因此，在这场帝国的冲突中，香港使用了两种形式的土地知识——清朝的土地契约和英国的地籍土地测量。在这些系统之间存在着城墙城，它的居住范围超出了英国人的土地划分概念，但它的历史轮廓在很大程度上是由建筑边界塑造的，因此得名。
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Pub Date : 2022-02-02DOI: 10.3390/histories2010003
Inés Monteira
The ivory casket made in Cuenca in A.D. 1026 and signed by Mohammad ibn Zayyan constitutes invaluable evidence for the study of artistic transfers between Al-Andalus and the Iberian Christian kingdoms. In the 12th century this piece was transformed in the monastery of Santo Domingo de Silos (Burgos) with the addition of Christian-themed enamels and reused as a reliquary. The appropriation of this object within the ideological context of the Christian expansion in the Iberian Peninsula allows us to reflect on the meaning given to it by the Silos monks. Moreover, a comparative study of the casket with Romanesque sculpture shows the existence of important iconographic influences of this piece in Christian art that have not been sufficiently studied until now. Its analysis offers clues about the way in which figurative motifs could be transmitted from Andalusi to Christian art and about the symbolic purposes with which they were used. This work highlights the need to study conjointly the transfer of artistic pieces and the transmission of figurative motifs from one context to another in addition to proposing a methodology for their study.
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Pub Date : 2022-01-27DOI: 10.20944/preprints202201.0420.v1
Carol Nash
In European thought, the relationship among the fields of psychology, education, and health is both complex and obscured. Foucault’s acclaimed work, The Order of Things, offers a framework to evaluate their interconnection by identifying three distinct periods of European thought since the 16th century with respect to the ordering of phenomena—Renaissance, Classical and Modern. Theoretically dense and often difficult to decipher, the book’s categorization of language, value and being has been understandably underused, yet it provides deep insights into what have come to be known as psychology, education and health and remains invaluable in understanding the origin, limits and consequences of these fields. How Foucault’s analysis can be interpreted concerning the development of these areas as to each of the three periods of European thought is investigated. An approach based on narrative research appraises the analysis offered in the book. The results, presented for the first time in table form, compare these three periods, demonstrating a continuing practical value to Foucault’s insights. With the aid of the framework revealed by these tables, the boundaries and relationship of psychology, education and health become clear and their limitations—plus potential solutions to them—can be identified to mitigate anticipated negative consequences.
在欧洲人的思想中，心理学、教育和健康领域之间的关系既复杂又模糊。福柯广受赞誉的著作《事物的秩序》(The Order of Things)提供了一个框架，通过识别自16世纪以来欧洲思想在现象秩序方面的三个不同时期——文艺复兴时期、古典时期和现代时期——来评估它们之间的相互联系。这本书对语言、价值和存在的分类在理论上密集，往往难以解读，这一点可以理解，但它对心理学、教育和健康提供了深刻的见解，在理解这些领域的起源、限制和后果方面仍然是无价的。如何解释福柯的分析，关于这些领域的发展，作为三个时期的欧洲思想的研究。一种基于叙事研究的方法对书中的分析进行了评价。结果首次以表格的形式呈现，比较了这三个时期，展示了福柯的见解的持续实用价值。在这些表格所揭示的框架的帮助下，心理学、教育和健康的界限和关系变得清晰，它们的局限性——加上它们的潜在解决方案——可以被识别出来，以减轻预期的负面后果。
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Pub Date : 2022-01-14DOI: 10.3390/histories2010002
Bettina Beer
Changes in what anthropologists understand “clan” to refer to, and the social relations that many sociologists think of as constituting a “nuclear family” are at the centre of this article. It is based on ethnography among Wampar speakers in north-eastern Papua New Guinea (PNG). Among the Wampar, different, sometimes conflicting, transitions relevant to the emergence of the family as an accentuated social entity can be observed; yet all are a result of Christianisation and the local effects of capitalism. Nominally patrilineal clans (sagaseg), after a period when they seemed to have a somewhat diminished social significance, are again crucial social units: a result of the government’s requirement that statutory Incorporated Land Groups (ILGs) form the sole legal basis of compensation for land use. At the same time, there has been an increasing emphasis on the nuclear family, which, along with the aspiration for modern lifestyles (and their associated consumption patterns) and education for children, has reconfigured the gendered division of labour. Ideals of companionate marriage and values specific to the nuclear family have become much more critical to social practices. In some families, traditional notions of descent have lost importance to such an extent that some young people are no longer aware of their sagaseg membership. Wampar men and women discuss these conflicting tendencies and argue about the different values that ground them. Which argument prevails often depends on the specific position of the person confronting them.
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Pub Date : 2021-12-24DOI: 10.3390/histories2010001
Bertrand Vayssière
In 1949, it seemed that Western governments were ready to accept some delegation of sovereignty, which met the ambitions of increasingly well-organised Europeanists. One of the most ambitious advances was the proposal for a European Assembly, which could have heralded the beginning of an integration process. However, on this point, as on many others, there was not total agreement between the unionists and the federalists: for some, the Assembly was simply a co-operation structure, while others thought it should be a constituent body. The federalists—who had been united since December 1946 within the European Union of Federalists (EUF), which claimed to have no fewer than 150,000 members—were very demanding. After the adoption of the Statute of the Council of Europe on 5 May 1949, the EUF Central Committee approved a “motion on the Consultative Assembly” in which it openly demanded the drafting of a federal pact that would lead to real European power. Faced with the modest intergovernmental status of the Council of Europe, the EUF proposed that the Assembly of this Council should be transformed from a “consultative” to a “constituent” assembly, which amounted to condemning any kind of conciliatory attitude. Therefore, the constituent path was becoming more and more important within the federalist organisation: it was now a matter of pressing, without restraint, for the triumph of ideals freed from initial reluctance, in the most diverse forums. The most important of these remained the Council of Europe, which was, in the eyes of the federalists, an institution that could be improved. Defending an integrated Europe, the federalists called for the creation of a democratic power on the scale of the challenges of the time, which seemed to them to exceed that of the nation states. To achieve this, they defended a “political” vision of integration, of which the Council of Europe could be the spearhead. It is this struggle, which took place at a time when the construction of Europe seems to be based on a simple but firm act of will, that this article will examine.
{"title":"Federalists and the Beginnings of the Council of Europe: Converting Institutions and Opinion to Supranationality (1949–1951)","authors":"Bertrand Vayssière","doi":"10.3390/histories2010001","DOIUrl":"https://doi.org/10.3390/histories2010001","url":null,"abstract":"In 1949, it seemed that Western governments were ready to accept some delegation of sovereignty, which met the ambitions of increasingly well-organised Europeanists. One of the most ambitious advances was the proposal for a European Assembly, which could have heralded the beginning of an integration process. However, on this point, as on many others, there was not total agreement between the unionists and the federalists: for some, the Assembly was simply a co-operation structure, while others thought it should be a constituent body. The federalists—who had been united since December 1946 within the European Union of Federalists (EUF), which claimed to have no fewer than 150,000 members—were very demanding. After the adoption of the Statute of the Council of Europe on 5 May 1949, the EUF Central Committee approved a “motion on the Consultative Assembly” in which it openly demanded the drafting of a federal pact that would lead to real European power. Faced with the modest intergovernmental status of the Council of Europe, the EUF proposed that the Assembly of this Council should be transformed from a “consultative” to a “constituent” assembly, which amounted to condemning any kind of conciliatory attitude. Therefore, the constituent path was becoming more and more important within the federalist organisation: it was now a matter of pressing, without restraint, for the triumph of ideals freed from initial reluctance, in the most diverse forums. The most important of these remained the Council of Europe, which was, in the eyes of the federalists, an institution that could be improved. Defending an integrated Europe, the federalists called for the creation of a democratic power on the scale of the challenges of the time, which seemed to them to exceed that of the nation states. To achieve this, they defended a “political” vision of integration, of which the Council of Europe could be the spearhead. It is this struggle, which took place at a time when the construction of Europe seems to be based on a simple but firm act of will, that this article will examine.","PeriodicalId":41517,"journal":{"name":"Architectural Histories","volume":"35 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74086699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This position paper looks at the 1964 AIA -ACSA Teacher conference, one that offers us a window into the current anxieties of architectural history survey courses. The conference was organized at a time when PhD programs in Architectural History and Theory were emerging, with accompanying mid-century notions of disciplines with clear boundaries, objects of study and hierarchy of experts. The questions that were being asked were fundamental: What is Architectural History? What are its contents? How should it be taught? Who is an Architectural Historian? However, a closer look beneath the masculine bravado of the conference reveals many of the same symptoms that persist today: questions of ‘diversity’ of content, anxiety to be ‘relevant’ to students in professional programs and a tendency to leave unquestioned the tradition of ‘designo’. This paper journeys through these anxieties with the hope of bringing some of those in play today into sharper focus. Perhaps, it concludes, the work of architectural history might be what Spivak termed as a project of “Planetarity”, involving not merely a change in epistemological methods but an undoing of the social order of architectural history.
{"title":"The Glazed Eyes of History: Reading the 1964 AIA-ACSA Teacher Conference","authors":"T. Oommen","doi":"10.16995/ah.8280","DOIUrl":"https://doi.org/10.16995/ah.8280","url":null,"abstract":"This position paper looks at the 1964 AIA -ACSA Teacher conference, one that offers us a window into the current anxieties of architectural history survey courses. The conference was organized at a time when PhD programs in Architectural History and Theory were emerging, with accompanying mid-century notions of disciplines with clear boundaries, objects of study and hierarchy of experts. The questions that were being asked were fundamental: What is Architectural History? What are its contents? How should it be taught? Who is an Architectural Historian? However, a closer look beneath the masculine bravado of the conference reveals many of the same symptoms that persist today: questions of ‘diversity’ of content, anxiety to be ‘relevant’ to students in professional programs and a tendency to leave unquestioned the tradition of ‘designo’. This paper journeys through these anxieties with the hope of bringing some of those in play today into sharper focus. Perhaps, it concludes, the work of architectural history might be what Spivak termed as a project of “Planetarity”, involving not merely a change in epistemological methods but an undoing of the social order of architectural history.","PeriodicalId":41517,"journal":{"name":"Architectural Histories","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44333895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper is concerned with the role of human institutions as generators of architectural form, with reference to the writings and works of Peter Behrens, Jørn Utzon, and Louis Kahn. These architects were willing to regard human institutions as living cultural entities, which ought to have a determinative influence on the design of the buildings that were to house them. This may be contrasted with the naïve functionalism promoted by some of their contemporaries. The paper begins with a brief view of the theoretical background alluded to above, and then turns to the theatre as a primary cultural activity, and the prominent place it held in Behrens's thinking during the opening years of the twentieth century. Affinities are explored between Behrens's concept of the theatre and Utzon's subsequent treatment of the theatre as a central civic institution in his design for the Sydney Opera House (1956). A parallel is seen in Louis Kahn's insistence that the starting-point for an architectural project should lie in a vision of the human institution which the project is to serve. A critical role for cultural institutions as objects of architectural attention indeed was present in urban schemes produced from the early twentieth century, as exemplified by the work of Tony Garnier.
{"title":"Cultural Institutions as Formative Elements in the Work of Behrens, Utzon and Kahn","authors":"M. Horn, P. Proudfoot","doi":"10.16995/ah.8275","DOIUrl":"https://doi.org/10.16995/ah.8275","url":null,"abstract":"This paper is concerned with the role of human institutions as generators of architectural form, with reference to the writings and works of Peter Behrens, Jørn Utzon, and Louis Kahn. These architects were willing to regard human institutions as living cultural entities, which ought to have a determinative influence on the design of the buildings that were to house them. This may be contrasted with the naïve functionalism promoted by some of their contemporaries.\u0000The paper begins with a brief view of the theoretical background alluded to above, and then turns to the theatre as a primary cultural activity, and the prominent place it held in Behrens's thinking during the opening years of the twentieth century. Affinities are explored between Behrens's concept of the theatre and Utzon's subsequent treatment of the theatre as a central civic institution in his design for the Sydney Opera House (1956). A parallel is seen in Louis Kahn's insistence that the starting-point for an architectural project should lie in a vision of the human institution which the project is to serve. A critical role for cultural institutions as objects of architectural attention indeed was present in urban schemes produced from the early twentieth century, as exemplified by the work of Tony Garnier.","PeriodicalId":41517,"journal":{"name":"Architectural Histories","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2021-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45668159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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