Pub Date : 2021-05-04DOI: 10.1080/10331867.2021.1938816
M. Lozanovska, Vladimir Kulić, Alicja Gzowska, Piotr Bujas, P. Scriver, Amit Kumar Srivastava, Alona Nitzan-Shiftan, Claire A. Zimmerman
School of Architecture and Built Environment, SEBE, Deakin University, Geelong, Australia; Department of Architecture, College of Design, Iowa State University, Ames, USA; Department of Architecture, College of Design, Warsaw University, Poland; BADR (Bureau for Architecture Design Research), Kraków, Poland; School of Architecture and Built Environment (SABE), Centre for Asian and Middle-Eastern Architecture, University of Adelaide, Adelaide, Australia; Faculty of Architecture and Town Planning, Technion Israel Institute of Technology, Technion City, Haifa, Israel; Department of the History of Art, University of Michigan, Ann Arbor, MI, USA
{"title":"Forum: Cold War Architecture Historiography","authors":"M. Lozanovska, Vladimir Kulić, Alicja Gzowska, Piotr Bujas, P. Scriver, Amit Kumar Srivastava, Alona Nitzan-Shiftan, Claire A. Zimmerman","doi":"10.1080/10331867.2021.1938816","DOIUrl":"https://doi.org/10.1080/10331867.2021.1938816","url":null,"abstract":"School of Architecture and Built Environment, SEBE, Deakin University, Geelong, Australia; Department of Architecture, College of Design, Iowa State University, Ames, USA; Department of Architecture, College of Design, Warsaw University, Poland; BADR (Bureau for Architecture Design Research), Kraków, Poland; School of Architecture and Built Environment (SABE), Centre for Asian and Middle-Eastern Architecture, University of Adelaide, Adelaide, Australia; Faculty of Architecture and Town Planning, Technion Israel Institute of Technology, Technion City, Haifa, Israel; Department of the History of Art, University of Michigan, Ann Arbor, MI, USA","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"31 1","pages":"279 - 294"},"PeriodicalIF":0.4,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44861200","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 : 2021-05-04DOI: 10.1080/10331867.2021.1945732
S. Leslie
ABSTRACT Radomes, the iconic structures protecting sensitive radar antennas from wind, weather, and the prying eyes of adversaries, marked and maintained the geographic boundaries of America’s Cold War. The radome’s unique architecture, most commonly a rigid geodesic dome, captured the essential tensions of the Cold War, instantly recognisable but inaccessible; transparent (to radio waves) but opaque (to the naked eye); highly classified but often hidden in plain sight. Along the Distant Early Warning (DEW) Line inside the Arctic Circle in Canada and in the arid desert of the Australian outback, radomes became the telltale signs of US surveillance and spy bases; a network constructed in partnership with American allies but politically fraught for their host countries, which had little political or technical control over them. Those bases, and the communities that grew up around them, have endured, but their new missions have raised troubling new questions of national sovereignty, dependency, and privacy.
{"title":"Under the Radome: The Architecture of American Cold War Surveillance","authors":"S. Leslie","doi":"10.1080/10331867.2021.1945732","DOIUrl":"https://doi.org/10.1080/10331867.2021.1945732","url":null,"abstract":"ABSTRACT Radomes, the iconic structures protecting sensitive radar antennas from wind, weather, and the prying eyes of adversaries, marked and maintained the geographic boundaries of America’s Cold War. The radome’s unique architecture, most commonly a rigid geodesic dome, captured the essential tensions of the Cold War, instantly recognisable but inaccessible; transparent (to radio waves) but opaque (to the naked eye); highly classified but often hidden in plain sight. Along the Distant Early Warning (DEW) Line inside the Arctic Circle in Canada and in the arid desert of the Australian outback, radomes became the telltale signs of US surveillance and spy bases; a network constructed in partnership with American allies but politically fraught for their host countries, which had little political or technical control over them. Those bases, and the communities that grew up around them, have endured, but their new missions have raised troubling new questions of national sovereignty, dependency, and privacy.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"31 1","pages":"153 - 179"},"PeriodicalIF":0.4,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46492191","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 : 2021-05-04DOI: 10.1080/10331867.2021.1930751
P. Goad
ABSTRACT To date, Australia’s architectural histories have been silent on the Cold War politics of post-war modernism. For the most part, historians have documented production without considering the broader geo-political moment in which the nation found itself after World War II. Recent transnational architectural histories focus on relationships that the United States and the former USSR forged between themselves and individually with other countries. In so doing, canonical accounts of post-war modernism have been brought into question and architectural practice implicated in broader global shifts of power, economy, and control. Some historians have concentrated on transatlantic connections, others have drawn peripheral modernisms into relief as a series of successive colonial modernisms. This paper explores aspects of Australia’s post-war architectural production that might be regarded as inconvenient truths and implicated in a larger strategic geo-political and economic project. It suggests that the Cold War drew a net across Australia’s entire landscape – urban and remote, seen and unseen. Australia was a willing collaborator. Under the auspices of post-war recovery and with a new-found purpose in the region, projects of extraction, energy, defence, and diplomacy ‘rebuilt’ the nation with a labour force contingent on migration - and architectural modernism was intrinsic to that project.
{"title":"Inconvenient Truths: Framing an Architectural History for Cold War Australia","authors":"P. Goad","doi":"10.1080/10331867.2021.1930751","DOIUrl":"https://doi.org/10.1080/10331867.2021.1930751","url":null,"abstract":"ABSTRACT To date, Australia’s architectural histories have been silent on the Cold War politics of post-war modernism. For the most part, historians have documented production without considering the broader geo-political moment in which the nation found itself after World War II. Recent transnational architectural histories focus on relationships that the United States and the former USSR forged between themselves and individually with other countries. In so doing, canonical accounts of post-war modernism have been brought into question and architectural practice implicated in broader global shifts of power, economy, and control. Some historians have concentrated on transatlantic connections, others have drawn peripheral modernisms into relief as a series of successive colonial modernisms. This paper explores aspects of Australia’s post-war architectural production that might be regarded as inconvenient truths and implicated in a larger strategic geo-political and economic project. It suggests that the Cold War drew a net across Australia’s entire landscape – urban and remote, seen and unseen. Australia was a willing collaborator. Under the auspices of post-war recovery and with a new-found purpose in the region, projects of extraction, energy, defence, and diplomacy ‘rebuilt’ the nation with a labour force contingent on migration - and architectural modernism was intrinsic to that project.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"31 1","pages":"260 - 278"},"PeriodicalIF":0.4,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47704455","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 : 2021-05-04DOI: 10.1080/10331867.2021.1945791
C. Schnoor
ABSTRACT Through his work for the first Labour Government in Wellington, Austrian-born émigré architect Ernst Plischke (1903–92) was directly involved with New Zealand politics in the 1940s. While he has appeared to others as a not outwardly political person, his professional life in New Zealand was directly tied to governmental decisions of the time. Particularly his duties in the town planning division of the Department of Housing Construction (1943–1947) meant that Plischke was not only involved with the politically initiated design of large-scale environments, but in this role he also actively took sides – for a somewhat more collectivist model of living than many New Zealanders favoured. By bringing together the existing debate about housing, dwelling and in particular the Community Centre in Naenae with Plischke’s design work and his own views, it may be possible to characterise more closely his interactions with New Zealand politics. It appears that despite being an “Enemy Alien,” Plischke’s attitude towards architecture and society was largely aligned with the positions of the first Labour Government for the quality of his work to be recognised.
{"title":"Ernst Plischke and Post-war Politics in New Zealand: The Case of Naenae","authors":"C. Schnoor","doi":"10.1080/10331867.2021.1945791","DOIUrl":"https://doi.org/10.1080/10331867.2021.1945791","url":null,"abstract":"ABSTRACT Through his work for the first Labour Government in Wellington, Austrian-born émigré architect Ernst Plischke (1903–92) was directly involved with New Zealand politics in the 1940s. While he has appeared to others as a not outwardly political person, his professional life in New Zealand was directly tied to governmental decisions of the time. Particularly his duties in the town planning division of the Department of Housing Construction (1943–1947) meant that Plischke was not only involved with the politically initiated design of large-scale environments, but in this role he also actively took sides – for a somewhat more collectivist model of living than many New Zealanders favoured. By bringing together the existing debate about housing, dwelling and in particular the Community Centre in Naenae with Plischke’s design work and his own views, it may be possible to characterise more closely his interactions with New Zealand politics. It appears that despite being an “Enemy Alien,” Plischke’s attitude towards architecture and society was largely aligned with the positions of the first Labour Government for the quality of his work to be recognised.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"31 1","pages":"207 - 234"},"PeriodicalIF":0.4,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46679303","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 : 2021-05-04DOI: 10.1080/10331867.2021.1930919
D. Lu
{"title":"Architecture in Global Socialism: Eastern Europe, West Africa, and the Middle East in the Cold War","authors":"D. Lu","doi":"10.1080/10331867.2021.1930919","DOIUrl":"https://doi.org/10.1080/10331867.2021.1930919","url":null,"abstract":"","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"31 1","pages":"295 - 296"},"PeriodicalIF":0.4,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45863324","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 : 2021-01-02DOI: 10.1080/10331867.2021.1925491
A. Saniga
ABSTRACT The modern garden in Australia after the Second World War reflected international design movements along with new appreciations of the country’s indigenous landscapes. Conservation activities and concern for environmental quality expanded in the face of the development boom’s insatiable quest for resources and unprecedented threats to natural systems. The Australian profession of landscape architecture, institutionalised in 1966, emerged in response. An uneasy association of planners, architects, horticulturalists, foresters and others stemmed from sometimes vastly different standpoints that remarkably coalesced around singular points of reference. One possible source requiring clarification is the work of Brazilian landscape architect and artist, Roberto Burle Marx (1909–94). Evidence suggests that Burle Marx’s alluringly graphic landscape designs struck a chord, sometimes very clearly, influencing Australian designers such as John Oldham (1907–99), John Stevens (1920–2007), and Karl Langer (1903–69) in their landscape designs surrounding freeway interchanges, atop office block car parks, and for tourist resorts alike. This gave their practices a leading edge. In other instances, connections between Burle Marx and Australian founders of the profession were merely subtle traces, and the subliminal influence instead sheds light on the character of the Australian profession rather than overt derivations.
{"title":"Layered Landscapes: Links between Brazil and Australia after the Second World War","authors":"A. Saniga","doi":"10.1080/10331867.2021.1925491","DOIUrl":"https://doi.org/10.1080/10331867.2021.1925491","url":null,"abstract":"ABSTRACT The modern garden in Australia after the Second World War reflected international design movements along with new appreciations of the country’s indigenous landscapes. Conservation activities and concern for environmental quality expanded in the face of the development boom’s insatiable quest for resources and unprecedented threats to natural systems. The Australian profession of landscape architecture, institutionalised in 1966, emerged in response. An uneasy association of planners, architects, horticulturalists, foresters and others stemmed from sometimes vastly different standpoints that remarkably coalesced around singular points of reference. One possible source requiring clarification is the work of Brazilian landscape architect and artist, Roberto Burle Marx (1909–94). Evidence suggests that Burle Marx’s alluringly graphic landscape designs struck a chord, sometimes very clearly, influencing Australian designers such as John Oldham (1907–99), John Stevens (1920–2007), and Karl Langer (1903–69) in their landscape designs surrounding freeway interchanges, atop office block car parks, and for tourist resorts alike. This gave their practices a leading edge. In other instances, connections between Burle Marx and Australian founders of the profession were merely subtle traces, and the subliminal influence instead sheds light on the character of the Australian profession rather than overt derivations.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"31 1","pages":"85 - 108"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10331867.2021.1925491","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47303578","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 : 2021-01-02DOI: 10.1080/10331867.2021.1907028
Ana Esteban-Maluenda, Rute Figueiredo
ABSTRACT In 1933, Antonio Salazar established the so-called Estado Novo in Portugal. Six years later, Francisco Franco set up a right-wing totalitarian regime in Spain. The heavy traditionalism of both regimes and their rejection by western democracies after the Second World War kept them not only politically isolated, but also intensely invested in the revival of past national symbols. In architecture, such authoritarianism was evident in the return to traditional styles and vernacular models. However, within a decade interest in international architecture expanded. Initially, Iberia looked at more proximate countries in Europe and the Americas, but soon thereafter began to look towards the Pacific, particularly Japan and Australia. Iberian architects showed less interest in the Antipodes than they did towards other countries that were nearer geographically or culturally, such as Brazil or Mexico. Nevertheless, the number of articles about Australian architecture published in local magazines was not negligible, nor was the influence certain Australian works exercised over the career of some young architects. Following the storyline of articles published in Portuguese and Spanish professional journals, this paper presents Iberia’s evolving interest in Australian architecture, precisely the furthest away for them.
{"title":"Learning from the Opposite? Iberian Journals Glance at Australia","authors":"Ana Esteban-Maluenda, Rute Figueiredo","doi":"10.1080/10331867.2021.1907028","DOIUrl":"https://doi.org/10.1080/10331867.2021.1907028","url":null,"abstract":"ABSTRACT In 1933, Antonio Salazar established the so-called Estado Novo in Portugal. Six years later, Francisco Franco set up a right-wing totalitarian regime in Spain. The heavy traditionalism of both regimes and their rejection by western democracies after the Second World War kept them not only politically isolated, but also intensely invested in the revival of past national symbols. In architecture, such authoritarianism was evident in the return to traditional styles and vernacular models. However, within a decade interest in international architecture expanded. Initially, Iberia looked at more proximate countries in Europe and the Americas, but soon thereafter began to look towards the Pacific, particularly Japan and Australia. Iberian architects showed less interest in the Antipodes than they did towards other countries that were nearer geographically or culturally, such as Brazil or Mexico. Nevertheless, the number of articles about Australian architecture published in local magazines was not negligible, nor was the influence certain Australian works exercised over the career of some young architects. Following the storyline of articles published in Portuguese and Spanish professional journals, this paper presents Iberia’s evolving interest in Australian architecture, precisely the furthest away for them.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"31 1","pages":"24 - 53"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10331867.2021.1907028","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43584610","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 : 2021-01-02DOI: 10.1080/10331867.2021.1901363
David Nichols
{"title":"American Autopia: An Intellectual History of the American Roadside at Midcentury","authors":"David Nichols","doi":"10.1080/10331867.2021.1901363","DOIUrl":"https://doi.org/10.1080/10331867.2021.1901363","url":null,"abstract":"","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"31 1","pages":"142 - 144"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10331867.2021.1901363","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45831285","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 : 2021-01-02DOI: 10.1080/10331867.2021.1901362
C. Williams
{"title":"Ugliness and Judgement: On Architecture in the Public Eye","authors":"C. Williams","doi":"10.1080/10331867.2021.1901362","DOIUrl":"https://doi.org/10.1080/10331867.2021.1901362","url":null,"abstract":"","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"31 1","pages":"139 - 142"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10331867.2021.1901362","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43891785","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 : 2021-01-02DOI: 10.1080/10331867.2021.1902098
Emma López-Bahut
ABSTRACT This paper analyses the impact on Glenn Murcutt’s architecture of his 1973 meeting in Barcelona with José Antonio Coderch (1913–1984), one of the most internationally celebrated Spanish architects of the twentieth century. It uncovers details about their initial meeting and explores buildings designed by Coderch that Murcutt visited in person. The paper then analyses the impact of this meeting on Murcutt’s architecture by comparing two houses: The Laurie Short House (Sydney, 1974), designed immediately before the 1973 trip and finished upon Murcutt’s return to Australia, and the Marie Short House (Kempsey, 1975). The study of Coderch’s work transformed Murcutt in three basic ways: it facilitated his shift away from the archetypal glass pavilion, it spurred Murcutt’s development of continuous interior/exterior spaces and it taught him to exploit vertical sun-shading devices and various shutter configurations that are characteristic of both traditional Mediterranean architecture and Coderch’s work. From Coderch, Murcutt learned to connect contemporary architecture with the tradition of the place, both physically and symbolically. Meeting Coderch, and visiting his works in person, became a turning point in Murcutt’s career and it reveals crucial links between Spanish and Australian architecture.
本文分析了格伦·穆卡特1973年在巴塞罗那与二十世纪最负国际声誉的西班牙建筑师之一何塞·安东尼奥·柯德奇（1913–1984）会面对其建筑的影响。它揭示了他们最初会面的细节，并探索了Murcutt亲自参观的Coderch设计的建筑。然后，本文通过比较两栋房子来分析这次会议对Murcutt建筑的影响：Laurie Short House（悉尼，1974年）和Marie Short House。对Coderch作品的研究在三个基本方面改变了Murcutt：它促进了他从典型的玻璃亭的转变，促进了Murcut特对连续内部/外部空间的发展，并教会他利用传统地中海建筑和Coderch的作品所特有的垂直遮阳装置和各种百叶窗配置。从Coderch，Murcutt学会了将当代建筑与这个地方的传统联系起来，无论是在物理上还是在象征上。与Coderch会面，并亲自参观他的作品，成为Murcutt职业生涯的转折点，它揭示了西班牙和澳大利亚建筑之间的关键联系。
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