Pub Date : 2022-05-04DOI: 10.1080/10331867.2022.2134551
Macarena de la Vega de León
ABSTRACT The use of oral history as a method to rewrite the history of modern architecture has intensified in recent years. This essay presents initial reflections of a research project on oral histories of architectural history, not architecture, through interviews with historians of architecture based in Australia and New Zealand, not architects. Acknowledging the contribution of users and clients in constructing new narratives of architecture, I argue that there is also value in recording the stories told by historians of architecture. Their firsthand experiences provide insight into the process of overcoming the geographical remoteness of the discipline in the region, with its intellectual uneasiness and institutional uncertainty. Globally, there are lessons to be learned by emerging scholars from the impact of migration and networks on their career progression. This essay aims to test the value and validity of the oral histories of historians of architecture, to not only better contextualise their own work, but also advance the discipline of the history of architecture through the telling of and listening to their stories. It aims to explore whether the principles and strengths, as well as the shortcomings, of oral history as a methodology in architectural research can be productive in its historiography.
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Pub Date : 2022-05-04DOI: 10.1080/10331867.2022.2093450
C. Casey
which excuse and justify everything’ (p. 55); he considers it equal to any model, ancient or modern, of pastoral writing. Maréchal also comments on biblical translations and adaptations — neither Rousseau nor Favart fare particularly well (pp. 55–56) although Racine does better (p. 133). Sheila Delany’s own translation is strong, and this is the third in a trilogy of Maréchal translations she has undertaken. Initially a Chaucerian, she translated Maréchal’s Nouvelle légende dorée (1790) and La Femme abbé (1801) as Anti-Saints (Edmonton: University of Alberta Press, 2012) and The Woman Priest (Edmonton: University of Alberta Press, 2016). Her interest is in the long history of religion and satires thereof, as is emphasized by the placing of For and Against the Bible within Brill’s ‘Studies in Critical Research on Religion’. Her Introduction is framed within a discussion of religious discourse in modern America, starts with an anecdote about Donald Trump’s Vice-President, Mike Pence, and criticizes nations where there is no separation of powers. If her presentation of the French Revolution can be sensationalizing or partisan (in 1800, for example, ‘there was a climate of fear for many, decadence for others’, while Napoleon crowning himself emperor is termed ‘this horror’, p. 6), her commentary is nonetheless perfectly serviceable, and Maréchal would no doubt be only too pleased to be harnessed to further anti-religious polemic.
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Pub Date : 2022-05-04DOI: 10.1080/10331867.2021.1989898
Gevork Hartoonian
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Pub Date : 2022-01-02DOI: 10.1080/10331867.2022.2047455
Natarsha Tezcan
The fifth annual International Symposium of the Australian Centre for Architectural History, Urban and Cultural Heritage at the University of Melbourne, Navigating Encounters and Exchanges: Intercolonial Trade, Industry and Labour Mobility in Asia Pacific, 1800s – 1950s , was held online from 24 to 26 November 2021. The symposium highlighted industrial heritage in the Asia-Pacific region and its global connections. With a focus on buildings for industry, agriculture, and trade, it explored themes of encounter, exchange, and influence, through flows of commodities, craft, labour and expertise across sites and communities between the 1800s and the 1950s. The symposium was convened by Amanda Achmadi, Hannah Lewi, Soon-Tzu Speechley and Paul Walker, with presentations by local and international academics and heritage practitioners. Due to the COVID pandemic, digital pre-recorded presentations were available prior to syn-chronous keynotes and panels attended by guests and speakers across the globe. The first keynote, presented by Julia Martínez (University of Wollongong) and Adrian Vickers (University of Sydney), examined the relationship between the prolific use of corrugated iron and seasonal multi-ethnic workforces in pearling, mining and plantation industries across Asia-Pacific in the early- to mid-20 th century. Cheap, portable, and easily assembled, corrugated iron was imported from Australia by Australian enterprises to construct racially segregated work, living and entertainment spaces for labourers. The keynote traced how different building typologies emerged based on racial and class divides, despite global pressure to improve living conditions.
墨尔本大学澳大利亚建筑历史、城市和文化遗产中心第五届年度国际研讨会于2021年11月24日至26日在线举行，主题为“相遇与交流：19世纪至50年代亚太地区的跨殖民贸易、工业和劳动力流动”。研讨会强调了亚太地区的工业遗产及其全球联系。它以工业、农业和贸易建筑为重点，探讨了19世纪至50年代期间，通过商品、工艺、劳动力和专业知识在各个地点和社区的流动，相遇、交流和影响的主题。研讨会由Amanda Achmadi、Hannah Lewi、Soon Zi Speechley和Paul Walker召集，当地和国际学者以及遗产从业者进行了演讲。由于新冠肺炎疫情，在全球嘉宾和演讲者参加同步主题演讲和小组讨论之前，可以使用数字预录演示。第一次主题演讲由Julia Martínez（卧龙岗大学）和Adrian Vickers（悉尼大学）提出，研究了20世纪初至中期亚太地区珍珠、采矿和种植业中波纹铁的大量使用与季节性多民族劳动力之间的关系。廉价、便携、易于组装的波纹铁是澳大利亚企业从澳大利亚进口的，用于为劳动者建造种族隔离的工作、生活和娱乐空间。主题演讲追溯了在全球面临改善生活条件的压力的情况下，基于种族和阶级划分的不同建筑类型是如何出现的。
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Pub Date : 2022-01-02DOI: 10.1080/10331867.2022.2047454
Michaela Prunotto
Ode to Edquist in a Zoom Zeitgeist twenty scholars from various locations across Australia The scholars gathered not only to exchange ideas but also to celebrate the multifaceted career of the guest of honour: Emeritus Professor Harriet Edquist of RMIT Convened by Catherine Townsend and Philip Goad (Australian Architectural History, Urban and Cultural of Melbourne), those presenting were also received by a lively panel of Edquist’s colleagues, among them Karen Burns, Peter Raisbeck, Alex Selenitsch, Helen Stuckey, and Laurene Vaughan. Driven by Edquist’s legacy, the symposium’s objective was to traverse disciplinary boundaries, which frequently compartmentalise architecture, design, and exhibitions. Of particular interest was the nexus of entwined histories, a multi-scalar lens, and modes of reciprocal knowledge. The event’s workshop format enabled each contributing scholar to present their work as an in-progress paper, which was then discussed via panel dialogue. This format was in the spirit of Edquist’s long-held determination to promote a culture of discourse within architecture and design academic circles, one that is aware of, and engaged with, its broader audience feedback loop.
{"title":"Looking Inside Design Festschrift, Workshop at the Australian Centre for Architectural History, Urban and Cultural Heritage, University of Melbourne and RMIT Design Archives","authors":"Michaela Prunotto","doi":"10.1080/10331867.2022.2047454","DOIUrl":"https://doi.org/10.1080/10331867.2022.2047454","url":null,"abstract":"Ode to Edquist in a Zoom Zeitgeist twenty scholars from various locations across Australia The scholars gathered not only to exchange ideas but also to celebrate the multifaceted career of the guest of honour: Emeritus Professor Harriet Edquist of RMIT Convened by Catherine Townsend and Philip Goad (Australian Architectural History, Urban and Cultural of Melbourne), those presenting were also received by a lively panel of Edquist’s colleagues, among them Karen Burns, Peter Raisbeck, Alex Selenitsch, Helen Stuckey, and Laurene Vaughan. Driven by Edquist’s legacy, the symposium’s objective was to traverse disciplinary boundaries, which frequently compartmentalise architecture, design, and exhibitions. Of particular interest was the nexus of entwined histories, a multi-scalar lens, and modes of reciprocal knowledge. The event’s workshop format enabled each contributing scholar to present their work as an in-progress paper, which was then discussed via panel dialogue. This format was in the spirit of Edquist’s long-held determination to promote a culture of discourse within architecture and design academic circles, one that is aware of, and engaged with, its broader audience feedback loop.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"32 1","pages":"155 - 158"},"PeriodicalIF":0.4,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46819717","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 : 2022-01-02DOI: 10.1080/10331867.2022.2042779
David Nichols
not addressed. Investigating architects’ homes through any of these other lenses would be another interesting and necessary book. Moreover, the editors recognise that only four of the case studies were the homes of women architects. Reflecting on what is not in Activism at Home helps to identify further issues to explore and threads to untangle by the editors themselves, the contributors, or anybody else building on this body of scholarship. This is a smart, though potentially dangerous, move in that it acknowledges the shortcomings of the project and anticipates where further criticism would focus. Ending the book with a reflection on precisely what is not there, however, can be seen as an homage or testament to what is already there. Doucet and Gosseye seem to consider that this carefully curated collection speaks — in visual and discursive terms — for itself.
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Pub Date : 2022-01-02DOI: 10.1080/10331867.2022.2075526
Michaela Prunotto
ABSTRACT In 2020, Mexican architect Frida Escobedo (1979–) designed the exhibition “Lina Bo Bardi: Habitat” at Museo Jumex in Mexico City. Lina Bo Bardi (1914–92) was an Italian émigré who became one of Brazil’s most important — and few female — modernist architects. Escobedo, too, is one of few Latin American women architects whose work is recognised internationally. Using the exhibition as touchpoint, this paper recontextualises the work and archives of Lina Bo Bardi through the lens of Frida Escobedo’s current practice, revealing the socially engaged and spontaneously playful artistry of each. Whereas Bo Bardi is prescient and forward-looking, Escobedo sensitively and inventively references her predecessor. By way of interview analysis, each architect’s praxis will be discussed as a transnational entanglement of objects, curation, persona, text, user, city, and building. Drawing on Olivia De Oliveira’s 1991 interview with Bo Bardi and the author’s 2021 interview with Escobedo, the former’s pioneering of adaptive reuse and urban revitalisation, as well as the latter’s continuation of these methods and preoccupation with ruins, will be addressed. Such topics are salient as Bo Bardi’s buildings today face material decline due to bureaucracy and neglect. A central aim of this paper is therefore to salvage and engage with the residues of Bo Bardi’s departed yet potent voice whilst simultaneously highlighting the contemporary importance of her legacy. The foregrounding of not only Bo Bardi and Escobedo’s voices but also, by default, the voices of their interviewers — Olivia De Oliveira and the author of this paper — is motivated by an enthusiasm to contribute to the collective transformation of the broader gendered communication terrain.
2020年，墨西哥建筑师Frida Escobedo(1979 -)在墨西哥城Jumex博物馆设计了“Lina Bo Bardi: Habitat”展览。Lina Bo Bardi(1914 - 1992)是一名意大利移民，后来成为巴西最重要的现代主义建筑师之一，也是为数不多的女性。Escobedo也是少数几个在国际上得到认可的拉丁美洲女性建筑师之一。本文以展览为接触点，通过Frida Escobedo当前的实践，将Lina Bo Bardi的作品和档案重新置于背景中，揭示每个人的社会参与和自发的俏皮艺术。博·巴迪具有先见之明和前瞻性，而埃斯科韦多则敏感而富有创造性地引用了她的前任。通过访谈分析，每位建筑师的实践都将作为对象、策展、人物、文本、用户、城市和建筑的跨国纠缠来讨论。通过Olivia De Oliveira在1991年对Bo Bardi的采访和作者在2021年对Escobedo的采访，作者将探讨前者在适应性再利用和城市复兴方面的开拓，以及后者对这些方法的延续和对废墟的关注。由于官僚主义和忽视，博·巴迪的建筑如今面临着物质上的衰退，这些话题变得尤为突出。因此，本文的一个中心目标是挽救和参与博·巴迪的离去，但有力的声音的残留物，同时突出她的遗产的当代重要性。不仅是Bo Bardi和Escobedo的声音，而且，默认情况下，他们的采访者——Olivia De Oliveira和本文的作者——的声音都是出于对更广泛的性别传播领域的集体转型做出贡献的热情。
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Pub Date : 2022-01-02DOI: 10.1080/10331867.2022.2091838
Manu P. Sobti, P. Scriver
ABSTRACT Among the handful of architectural histories charting the architectural development of the Indian Subcontinent after the decisive rupture of the 1950s, few have explored the modernist Indian interior. This paper examines the self-conscious curation of the modern domestic interior within the repertoire of four prolific and cross-culturally positioned Indian architects — Aditya Prakash (1924–2008), Balkrishna Doshi (1927–), Charles Correa (1930–2015), and Hasmukh Patel (1933–2018). Mining newly available archival insights as well as direct observation and experience of their interiors, the spatial choreographies performed within the living rooms of these architects’ family homes are reconstructed and explored. In serving as veritable repositories of life journeys and experiences, these intimate interiors marked event and discovery. In identifying the curated experiences of these interiors as spaces of encounter and dialogue between assemblies of things, we ask how such choices not only reinforced the spatial tectonics of their interior architectures but also enabled their curators to reflect upon the modes and means of their invention and inspiration as designers. Finally, we consider how these interiors, and their elements, may be comprehended as horological devices, marking the purported origin and transition points in time pertinent to the experimental journeys of their individual curators .
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Pub Date : 2022-01-02DOI: 10.1080/10331867.2022.2069360
H. Frichot
ABSTRACT This essay presents a series of discursive and performative events extending from 1988 to 2016, where the contributions of feminist theories and practices in the architectural humanities are celebrated. An editorial written for the Melbourne-based Transition journal in 1988 by Harriet Edquist and Karen Burns offers a point of departure by directly placing two terms into critical negotiation: women and architecture. Motivated by this negotiation of terms, I ask the deceptively simple question: What do women do to architectural discourse? To address this question, I offer an account of five specific and situated episodes, including roundtables, conferences, and edited publications, where a performative gesture and speculations on feminist futures begin to emerge. I further introduce the conceptual and collective figure of “women who make a fuss”, drawing on the book of the same name by feminist philosopher of science Isabelle Stengers and animal studies scholar Vinciane Despret. “Women”, as Stengers and Despret argue, is a “marked category”, and it will be strategically used in this essay not as an essential and fixed category, but as an analytical concept as well as a situated position that is performed and revised with each new encounter.
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Pub Date : 2022-01-02DOI: 10.1080/10331867.2022.2038828
Catherine Moriarty
ABSTRACT In January 1940, the British writer John Langdon-Davies travelled to Finland to report on the Winter War with the Soviet Union (November 1939–March 1940). On his return he wrote a book entitled Finland: the First Total War in which he proposed that it was the ability of the Finnish people to adapt to their environment that enabled the determined defence of their country from forces far greater in number and with superior armaments. His theme originated with the “military science,” as he put it, of collective defensive action that embraced the topography of Finland, its climate, and the skills evolved by life within it. He proposed that since its independence in 1917 and the subsequent civil war, Finland had been designed as a social democracy fit for purpose in its resilience to both political and military threat. Langdon-Davies considered Finnish modern architecture of the 1930s as part of a national strategy that embraced place, cooperation, and social wellbeing. He positioned architecture and design within interconnected military, social and economic contexts, as a kind of expanded functionalism both technical and poetic. This paper argues that Finland: the First Total War contributes to understandings of architecture as a protagonist in national defence.
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