Pub Date : 2022-09-02DOI: 10.1080/10331867.2022.2154429
Kathleen James-Chakraborty
regionalism. Despite the above open questions, this densely argued and elaborate reading of A Critical History is a veritable tour de force by an author who is well versed both in Frampton’s oeuvre and in the critical theory that sustains his analysis. Reading Gevork Hartoonian reading Kenneth Frampton will both challenge and satisfy more than one generation of aficionados of architectural historiography and critical praxis.
{"title":"The Color of Modernism: Paints, Pigments, and the Transformation of Modern Architecture in 1920s Germany","authors":"Kathleen James-Chakraborty","doi":"10.1080/10331867.2022.2154429","DOIUrl":"https://doi.org/10.1080/10331867.2022.2154429","url":null,"abstract":"regionalism. Despite the above open questions, this densely argued and elaborate reading of A Critical History is a veritable tour de force by an author who is well versed both in Frampton’s oeuvre and in the critical theory that sustains his analysis. Reading Gevork Hartoonian reading Kenneth Frampton will both challenge and satisfy more than one generation of aficionados of architectural historiography and critical praxis.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"32 1","pages":"528 - 530"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43059934","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 : 2022-09-02DOI: 10.1080/10331867.2023.2172891
Jasper Ludewig
ABSTRACT The Victorian idea of a globe-spanning Greater Britain has been largely obscured by more recent discussions about “anglobalisation” and the so-called “Anglo World.” This paper proposes, however, that the political and philosophical positions vested in the idea of Greater Britain can have significant repercussions for understanding the historical relation between architecture and the state. It presents an architectural history of Greater British enterprise, arguing that, in the late-nineteenth-century Pacific, British imperial power relied both on liberal systems of law and politics, as well as the development of the capitalist economic system as a mode of governance in and of itself. The discussion follows the figure of John Thomas Arundel (1841-1919), an English businessman and trader, as he amassed significant interests in the guano and copra industries from the early 1870s on. To consider Arundel’s business empire is to shuttle between multiple scales, traversing the various islands, companies and infrastructures involved in the extraction of certain raw materials over time. As the discussion intends to demonstrate, the spoils of this extraction were always designed to run along British lines, between British states and in the name of British ascendancy as the empire looked towards a new century of global governance.
{"title":"“Lonely Dots”: John Thomas Arundel and the Architecture of Greater British Enterprise in the Pacific","authors":"Jasper Ludewig","doi":"10.1080/10331867.2023.2172891","DOIUrl":"https://doi.org/10.1080/10331867.2023.2172891","url":null,"abstract":"ABSTRACT The Victorian idea of a globe-spanning Greater Britain has been largely obscured by more recent discussions about “anglobalisation” and the so-called “Anglo World.” This paper proposes, however, that the political and philosophical positions vested in the idea of Greater Britain can have significant repercussions for understanding the historical relation between architecture and the state. It presents an architectural history of Greater British enterprise, arguing that, in the late-nineteenth-century Pacific, British imperial power relied both on liberal systems of law and politics, as well as the development of the capitalist economic system as a mode of governance in and of itself. The discussion follows the figure of John Thomas Arundel (1841-1919), an English businessman and trader, as he amassed significant interests in the guano and copra industries from the early 1870s on. To consider Arundel’s business empire is to shuttle between multiple scales, traversing the various islands, companies and infrastructures involved in the extraction of certain raw materials over time. As the discussion intends to demonstrate, the spoils of this extraction were always designed to run along British lines, between British states and in the name of British ascendancy as the empire looked towards a new century of global governance.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"32 1","pages":"340 - 367"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44114477","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 : 2022-09-02DOI: 10.1080/10331867.2022.2154431
A. Moulis
hued atrium in Peter Behrens’s Administration Building for Hoechst, a chemical company known for their dyes. Completed in 1924, it would appear to be a key source for the use of colour in the interiors of brick-faced civic and office structures erected across northern Germany during in the 1920s, a corpus she ignores. These are now often described as Expressionist, but they emerged from a less self-conscious position in which neither the state or capitalism were subject to much interrogation. Also absent, because her focus is quite explicitly on paint, is the story of the coloured light that jazzed up the nightscapes of many German cityscapes in these years, or the vivid use that Ludwig Mies van der Rohe and Lilly Reich made of intensely hued silks and velvets, as well as onyx and rosewood. But within the limits she sets herself, Barnstone tells an important story about the avant-garde’s original inspirations and ambitions and tells it very well.
赫斯特是一家以染料闻名的化学公司，位于彼得·贝伦斯行政大楼的中庭。它于1924年完工，似乎是20世纪20年代在德国北部建造的砖面公民和办公建筑内部使用颜色的关键来源，她忽略了这一语料库。这些现在经常被描述为表现主义，但他们出现在一个不那么自我意识的位置，在这个位置上，国家或资本主义都没有受到太多的质疑。同样缺席的是，因为她的重点非常明确地放在了颜料上，是那些年来为许多德国城市的夜景增添了活力的彩色灯光的故事，或者路德维希·密斯·凡德罗(Ludwig Mies van der Rohe)和莉莉·赖希(Lilly Reich)用色彩强烈的丝绸和天鹅绒，以及玛克斯和红木制作的生动运用。但在她为自己设定的范围内，巴恩斯通讲述了一个关于先锋派最初的灵感和抱负的重要故事，并且讲得非常好。
{"title":"Australia Modern: Architecture, Landscape & Design 1925–1975","authors":"A. Moulis","doi":"10.1080/10331867.2022.2154431","DOIUrl":"https://doi.org/10.1080/10331867.2022.2154431","url":null,"abstract":"hued atrium in Peter Behrens’s Administration Building for Hoechst, a chemical company known for their dyes. Completed in 1924, it would appear to be a key source for the use of colour in the interiors of brick-faced civic and office structures erected across northern Germany during in the 1920s, a corpus she ignores. These are now often described as Expressionist, but they emerged from a less self-conscious position in which neither the state or capitalism were subject to much interrogation. Also absent, because her focus is quite explicitly on paint, is the story of the coloured light that jazzed up the nightscapes of many German cityscapes in these years, or the vivid use that Ludwig Mies van der Rohe and Lilly Reich made of intensely hued silks and velvets, as well as onyx and rosewood. But within the limits she sets herself, Barnstone tells an important story about the avant-garde’s original inspirations and ambitions and tells it very well.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"32 1","pages":"530 - 532"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43356762","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 : 2022-09-02DOI: 10.1080/10331867.2023.2172879
J. Gosseye
ABSTRACT This paper examines the matter of “architecture of the state” through the development history of the Esso site at Vauxhall Cross in London, which since the early 1990s houses the headquarters of the British Secret Intelligence Service (MI6), designed by Terry Farrell. The story of this site’s decades-long redevelopment saga calls into question what (or who) precisely “the state” is. Is it the (imagined) community that belongs to a state? Is it the governmental institutions and elected officials managing its operation? Or does the constitutional monarchy embody and symbolise the state? What the history of the Esso site and the design of the SIS building demonstrate is that these different groups who are all somehow encompassed in the definition of “the state” do not necessarily hold the same ideas about who “architecture of the state” is to serve, address, or represent.
{"title":"The Spectre at Vauxhall Cross: Architecture of the State, between Community and Monarchy","authors":"J. Gosseye","doi":"10.1080/10331867.2023.2172879","DOIUrl":"https://doi.org/10.1080/10331867.2023.2172879","url":null,"abstract":"ABSTRACT This paper examines the matter of “architecture of the state” through the development history of the Esso site at Vauxhall Cross in London, which since the early 1990s houses the headquarters of the British Secret Intelligence Service (MI6), designed by Terry Farrell. The story of this site’s decades-long redevelopment saga calls into question what (or who) precisely “the state” is. Is it the (imagined) community that belongs to a state? Is it the governmental institutions and elected officials managing its operation? Or does the constitutional monarchy embody and symbolise the state? What the history of the Esso site and the design of the SIS building demonstrate is that these different groups who are all somehow encompassed in the definition of “the state” do not necessarily hold the same ideas about who “architecture of the state” is to serve, address, or represent.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"32 1","pages":"393 - 422"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42391366","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 : 2022-09-02DOI: 10.1080/10331867.2022.2154428
Dijana Alic, Raffaele Pernice
ABSTRACT The fifth SAHANZ PhD Colloquium was organized and delivered at UNSW Sydney in July 2022. It was a single-day hybrid event that saw the participation of domestic and international PhD candidates at various stages of their careers. The day was structured to provide enough time for formal and informal discussion and feedback from senior scholars and academics, from several renowned Australian universities. More than a dozen papers were assessed and accepted for presentation considering their overall quality and originality, and achieving a balance of research topics and approaches.
{"title":"2022 SAHANZ PhD Colloquium","authors":"Dijana Alic, Raffaele Pernice","doi":"10.1080/10331867.2022.2154428","DOIUrl":"https://doi.org/10.1080/10331867.2022.2154428","url":null,"abstract":"ABSTRACT The fifth SAHANZ PhD Colloquium was organized and delivered at UNSW Sydney in July 2022. It was a single-day hybrid event that saw the participation of domestic and international PhD candidates at various stages of their careers. The day was structured to provide enough time for formal and informal discussion and feedback from senior scholars and academics, from several renowned Australian universities. More than a dozen papers were assessed and accepted for presentation considering their overall quality and originality, and achieving a balance of research topics and approaches.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"32 1","pages":"511 - 514"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42397389","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 : 2022-09-02DOI: 10.1080/10331867.2022.2161742
Anna Corkhill
Upon entering the space of Peter Lonergan’s Bill Lucas: Architect Utopian it becomes immediately clear that this is an exhibition about an archive as much as about an architect. Presented without interpretive text, the exhibition displays a sliver of a much larger, obsessively-kept archive, which Bill Lucas curated throughout his working life, kept in an ever-increasing series of leather suitcases. It is difficult to know whether the decision to present the archive to viewers without the usual wall texts and object labels was deliberate. Lonergan, a heritage architect known for his extensive career in Sydney, has had a long involvement with the Lucas archive, Lucas having worked for a time, towards the end of his life, from Lonergan’s Newtown studio. A small pamphlet free at the reception desk and a 100-page catalogue of images and essays, available for purchase, complement the exhibition and fill its interpretive gaps — though it is difficult to experience these texts and the exhibition simultaneously. Nevertheless, combined, the exhibition and catalogue present a window into the practices of an intriguing post-war Sydney architect, whose working life oscillated between the creation of regionally specific modernist housing, and deeply engaged participation in social and political activism. Lucas’s early domestic architecture was included in Jennifer Taylor’s 1972 study An Australian Identity: Houses for Sydney, 1953–63, alongside many of the architects that became associated with the concept of a “Sydney School,” or regional style for Sydney that was characterised by the use of natural materials in bushy, often dramatically sloped or otherwise difficult sites. Drawings for the two houses featured in Taylor’s text, the Lucas House (or “Glass House” as it became better known), Castlecrag, 1957, and Kearns House, Sylvania, 1954, are displayed prominently near the beginning of the exhibition space — perhaps to attract a glimmer of recognition for the architect’s work, much of which would likely be as yet unfamiliar to the broader architectural community.
{"title":"Bill Lucas: Architect Utopian, Tin Sheds Gallery, 24 February–26 March 2022","authors":"Anna Corkhill","doi":"10.1080/10331867.2022.2161742","DOIUrl":"https://doi.org/10.1080/10331867.2022.2161742","url":null,"abstract":"Upon entering the space of Peter Lonergan’s Bill Lucas: Architect Utopian it becomes immediately clear that this is an exhibition about an archive as much as about an architect. Presented without interpretive text, the exhibition displays a sliver of a much larger, obsessively-kept archive, which Bill Lucas curated throughout his working life, kept in an ever-increasing series of leather suitcases. It is difficult to know whether the decision to present the archive to viewers without the usual wall texts and object labels was deliberate. Lonergan, a heritage architect known for his extensive career in Sydney, has had a long involvement with the Lucas archive, Lucas having worked for a time, towards the end of his life, from Lonergan’s Newtown studio. A small pamphlet free at the reception desk and a 100-page catalogue of images and essays, available for purchase, complement the exhibition and fill its interpretive gaps — though it is difficult to experience these texts and the exhibition simultaneously. Nevertheless, combined, the exhibition and catalogue present a window into the practices of an intriguing post-war Sydney architect, whose working life oscillated between the creation of regionally specific modernist housing, and deeply engaged participation in social and political activism. Lucas’s early domestic architecture was included in Jennifer Taylor’s 1972 study An Australian Identity: Houses for Sydney, 1953–63, alongside many of the architects that became associated with the concept of a “Sydney School,” or regional style for Sydney that was characterised by the use of natural materials in bushy, often dramatically sloped or otherwise difficult sites. Drawings for the two houses featured in Taylor’s text, the Lucas House (or “Glass House” as it became better known), Castlecrag, 1957, and Kearns House, Sylvania, 1954, are displayed prominently near the beginning of the exhibition space — perhaps to attract a glimmer of recognition for the architect’s work, much of which would likely be as yet unfamiliar to the broader architectural community.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"32 1","pages":"519 - 522"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43338837","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 : 2022-09-02DOI: 10.1080/10331867.2022.2125143
Andrew Murray
{"title":"Light, Space, Place: The Architecture of Robin Gibson","authors":"Andrew Murray","doi":"10.1080/10331867.2022.2125143","DOIUrl":"https://doi.org/10.1080/10331867.2022.2125143","url":null,"abstract":"","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"32 1","pages":"523 - 525"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47149589","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 : 2022-09-02DOI: 10.1080/10331867.2023.2190686
L. Tipene
ABSTRACT The 1979 competition brief for Australia’s Parliament House has been described as an exceedingly complex, bureaucratic document. Its 170 pages summarise site and user data in tremendous detail. Yet, curiously offer little information about Australia’s democratic values and guiding principles. The absence of this information is significant as it inhibits discourse on architecture's capacity to enact the democratic practices of the Australian people in built form. This essay compares the 1979 brief to the parliamentary reports from which it was developed. Through amending, rephrasing and reframing earlier content, the brief is shown to introduce three structural biases: towards the isolation of site, the separation of interior activities and the absence of emphasis on democratic values. These biases established real and significant pressures for competition entrants on how to conceptualise and design Australia’s most significant, most anticipated, architectural emblem of its democratic identity. In this historical instance, this essay argues, what preceded the representation of power in Australia’s parliamentary architecture were moves to evade the representation of Australian democracy in the brief, which exacerbated a different type of power: the power over what to include and exclude.
{"title":"Three Ideas of Emptiness: Structural Biases Towards Isolation, Separation and Absence in the 1979 Australian Parliament House Competition Brief","authors":"L. Tipene","doi":"10.1080/10331867.2023.2190686","DOIUrl":"https://doi.org/10.1080/10331867.2023.2190686","url":null,"abstract":"ABSTRACT The 1979 competition brief for Australia’s Parliament House has been described as an exceedingly complex, bureaucratic document. Its 170 pages summarise site and user data in tremendous detail. Yet, curiously offer little information about Australia’s democratic values and guiding principles. The absence of this information is significant as it inhibits discourse on architecture's capacity to enact the democratic practices of the Australian people in built form. This essay compares the 1979 brief to the parliamentary reports from which it was developed. Through amending, rephrasing and reframing earlier content, the brief is shown to introduce three structural biases: towards the isolation of site, the separation of interior activities and the absence of emphasis on democratic values. These biases established real and significant pressures for competition entrants on how to conceptualise and design Australia’s most significant, most anticipated, architectural emblem of its democratic identity. In this historical instance, this essay argues, what preceded the representation of power in Australia’s parliamentary architecture were moves to evade the representation of Australian democracy in the brief, which exacerbated a different type of power: the power over what to include and exclude.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"32 1","pages":"477 - 510"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41323057","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 : 2022-09-02DOI: 10.1080/10331867.2023.2184081
Charlotte Rottiers, Anne-Françoise Morel, F. Floré
ABSTRACT This article frames the design and construction of the Belgian Consulate-General in Seoul (1903-1907) as a project of national representation on the verge of neo-imperialism and neutrality. The building project, designed by Belgian architect A. Groothaert, was part of the Belgian mission to showcase itself as an economic, commercial and industrial power via diplomatic architecture. The article discusses the design and building process paying particular attention to the materiality of the building. It analyses how this project and the selection of Belgian building materials were guided by aspirations to promote national industry and commerce; which were however continuously impacted by the difficulties imposed by the longdistance organisational model Brussels-Seoul, and the limitations in budget and resources of the small-state power that Belgium was at the time, as well as the rapidly changing political reality of Korea. Moreover, the article highlights how diplomatic architecture was used by a neutral country to channel its neo-imperial ambitions. In doing so it also underlines the importance of broadening the research perspective on diplomatic architecture to include consular buildings, as in the case of neutral and secondary states economic and commercial considerations often prevailed over political ambitions.
{"title":"On the Verge of Neo-Imperialism and Neutrality: The Construction of the Belgian Consulate-General in Seoul (1903-1907)","authors":"Charlotte Rottiers, Anne-Françoise Morel, F. Floré","doi":"10.1080/10331867.2023.2184081","DOIUrl":"https://doi.org/10.1080/10331867.2023.2184081","url":null,"abstract":"ABSTRACT This article frames the design and construction of the Belgian Consulate-General in Seoul (1903-1907) as a project of national representation on the verge of neo-imperialism and neutrality. The building project, designed by Belgian architect A. Groothaert, was part of the Belgian mission to showcase itself as an economic, commercial and industrial power via diplomatic architecture. The article discusses the design and building process paying particular attention to the materiality of the building. It analyses how this project and the selection of Belgian building materials were guided by aspirations to promote national industry and commerce; which were however continuously impacted by the difficulties imposed by the longdistance organisational model Brussels-Seoul, and the limitations in budget and resources of the small-state power that Belgium was at the time, as well as the rapidly changing political reality of Korea. Moreover, the article highlights how diplomatic architecture was used by a neutral country to channel its neo-imperial ambitions. In doing so it also underlines the importance of broadening the research perspective on diplomatic architecture to include consular buildings, as in the case of neutral and secondary states economic and commercial considerations often prevailed over political ambitions.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"32 1","pages":"448 - 476"},"PeriodicalIF":0.4,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42812086","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 : 2022-05-04DOI: 10.1080/10331867.2022.2134542
Miguel José Viana Rodrigues Borges de Araújo
ABSTRACT The following article contributes to the inscription of Álvaro Siza and Carlos Castanheira’s Shihlien office building in China (2010–2014) within Siza’s body of work. The Shihlien, also known as the “The Building on the Water,” was an unusual commission for the Portuguese architects, located on a distant site and designed under essentially unknown conditions. The public and critical reception of the building has been shaped by its remote location and private use, as well as by its spectacular form and representation in the media. How, if at all, has China influenced the project and how, reciprocally, has the project influenced China? In analysing Siza and Castanheira’s work, the present article re-employs Kenneth Frampton’s well-known essays from 1983 on Critical Regionalism and enacts two responses to them: 1) on-site observations of the building, together with a response to the experience of the site in terms of the human senses; 2) critical reflections, supported by photographs and notes, directed back at the Critical Regionalist analysis. In conclusion, I argue that the Shihlien both responds to the local context at the geographical, historical, environmental, cultural levels, and offers a statement of continuity in relation to the rest of Siza’s modernist body of works.
{"title":"Siza in China – China in Siza. Observations and Reflections on “The Building on the Water”","authors":"Miguel José Viana Rodrigues Borges de Araújo","doi":"10.1080/10331867.2022.2134542","DOIUrl":"https://doi.org/10.1080/10331867.2022.2134542","url":null,"abstract":"ABSTRACT The following article contributes to the inscription of Álvaro Siza and Carlos Castanheira’s Shihlien office building in China (2010–2014) within Siza’s body of work. The Shihlien, also known as the “The Building on the Water,” was an unusual commission for the Portuguese architects, located on a distant site and designed under essentially unknown conditions. The public and critical reception of the building has been shaped by its remote location and private use, as well as by its spectacular form and representation in the media. How, if at all, has China influenced the project and how, reciprocally, has the project influenced China? In analysing Siza and Castanheira’s work, the present article re-employs Kenneth Frampton’s well-known essays from 1983 on Critical Regionalism and enacts two responses to them: 1) on-site observations of the building, together with a response to the experience of the site in terms of the human senses; 2) critical reflections, supported by photographs and notes, directed back at the Critical Regionalist analysis. In conclusion, I argue that the Shihlien both responds to the local context at the geographical, historical, environmental, cultural levels, and offers a statement of continuity in relation to the rest of Siza’s modernist body of works.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"32 1","pages":"272 - 292"},"PeriodicalIF":0.4,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42758156","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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