Pub Date : 2021-01-02DOI: 10.1080/10331867.2021.1901364
P. Scriver
{"title":"Sovereignty, Space and Civil War in Sri Lanka: Porous Nation","authors":"P. Scriver","doi":"10.1080/10331867.2021.1901364","DOIUrl":"https://doi.org/10.1080/10331867.2021.1901364","url":null,"abstract":"","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"31 1","pages":"144 - 146"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10331867.2021.1901364","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48830142","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: 10.1080/10331867.2021.1925490
P. Goad
ABSTRACT In 1948, en-route to Australia from the United States, young Viennese-born architect Harry Seidler spent just over six weeks in Brazil. There, he worked briefly for Oscar Niemeyer and visited numerous examples of Brazilian modernism. Settling in Sydney, Seidler became one of Australia’s foremost modernist architects. His output quickly shifted from deference to the work of his mentors Walter Gropius and Marcel Breuer to formal experiments determined by the peculiarities of Australia’s geography and climate. He increasingly adapted elements that reflected his South American experiences. As his practice gained larger commissions, Seidler’s engagement with the Australian city was similarly affected. His urbanism - as it developed - ran counter to the Australian city’s Anglo-American trajectory that had shaped its form and character since the 1850s. This paper places Seidler’s interests in Brazil within the Australian context, where Iberico-American modernism was known and understood but appeared in isolated examples with little or no urban reference. Seidler, instead, proposed a new vision for the Australian city, one that extended Giedion, Sert and Leger’s wartime call for a new monumentality and combined architecture, art and landscape in a unified response: it was his answer to an urbanism for the New World.
{"title":"New World: Harry Seidler, Brazil and the Australian City","authors":"P. Goad","doi":"10.1080/10331867.2021.1925490","DOIUrl":"https://doi.org/10.1080/10331867.2021.1925490","url":null,"abstract":"ABSTRACT In 1948, en-route to Australia from the United States, young Viennese-born architect Harry Seidler spent just over six weeks in Brazil. There, he worked briefly for Oscar Niemeyer and visited numerous examples of Brazilian modernism. Settling in Sydney, Seidler became one of Australia’s foremost modernist architects. His output quickly shifted from deference to the work of his mentors Walter Gropius and Marcel Breuer to formal experiments determined by the peculiarities of Australia’s geography and climate. He increasingly adapted elements that reflected his South American experiences. As his practice gained larger commissions, Seidler’s engagement with the Australian city was similarly affected. His urbanism - as it developed - ran counter to the Australian city’s Anglo-American trajectory that had shaped its form and character since the 1850s. This paper places Seidler’s interests in Brazil within the Australian context, where Iberico-American modernism was known and understood but appeared in isolated examples with little or no urban reference. Seidler, instead, proposed a new vision for the Australian city, one that extended Giedion, Sert and Leger’s wartime call for a new monumentality and combined architecture, art and landscape in a unified response: it was his answer to an urbanism for the New World.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"31 1","pages":"54 - 84"},"PeriodicalIF":0.4,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10331867.2021.1925490","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45104719","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 : 2020-11-26DOI: 10.1080/10331867.2020.1827545
James Lesh
ABSTRACT From its 1994 conception to its 2002 realisation, Federation Square generated an intense public dispute between groups associated with architecture and conservation. Created by London-based LAB Architecture Studio following a design competition and located at the southern gateway to central Melbourne, Federation Square was a notable example of late-twentieth-century public architecture. It functioned as a civic and national monument and incorporated a sophisticated design response to its immediate physical and broader symbolic contexts. However, conservation activists the National Trust of Australia (Victoria) opposed Federation Square and specifically “the shard”, a structure which partially obstructed historical southern view lines into the city and St Paul’s Cathedral (1891). Rather than aiming to prevent demolition and conserve historic fabric, the National Trust sought to shape the future impacts of this experimental architectural response to the urban historic environment. Progressive sections of Melbourne’s design community rallied around LAB Architecture Studio because the integrity of architecture appeared to be at stake. Civic populism and political opportunism generated a final negotiated outcome. This article argues that this major public space architectural project was shaped by an expansive urban politics of heritage revealing broader concerns about the role of architecture and conservation in Melbourne at the time.
{"title":"Melbourne’s Federation Square and its Heritage Discontents, 1994-2002","authors":"James Lesh","doi":"10.1080/10331867.2020.1827545","DOIUrl":"https://doi.org/10.1080/10331867.2020.1827545","url":null,"abstract":"ABSTRACT From its 1994 conception to its 2002 realisation, Federation Square generated an intense public dispute between groups associated with architecture and conservation. Created by London-based LAB Architecture Studio following a design competition and located at the southern gateway to central Melbourne, Federation Square was a notable example of late-twentieth-century public architecture. It functioned as a civic and national monument and incorporated a sophisticated design response to its immediate physical and broader symbolic contexts. However, conservation activists the National Trust of Australia (Victoria) opposed Federation Square and specifically “the shard”, a structure which partially obstructed historical southern view lines into the city and St Paul’s Cathedral (1891). Rather than aiming to prevent demolition and conserve historic fabric, the National Trust sought to shape the future impacts of this experimental architectural response to the urban historic environment. Progressive sections of Melbourne’s design community rallied around LAB Architecture Studio because the integrity of architecture appeared to be at stake. Civic populism and political opportunism generated a final negotiated outcome. This article argues that this major public space architectural project was shaped by an expansive urban politics of heritage revealing broader concerns about the role of architecture and conservation in Melbourne at the time.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"31 1","pages":"109 - 138"},"PeriodicalIF":0.4,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10331867.2020.1827545","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41407369","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 : 2020-09-01DOI: 10.1080/10331867.2020.1834987
Macarena de la Vega de León
{"title":"Report: 2020 SAHANZ PhD Colloquium","authors":"Macarena de la Vega de León","doi":"10.1080/10331867.2020.1834987","DOIUrl":"https://doi.org/10.1080/10331867.2020.1834987","url":null,"abstract":"","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"30 1","pages":"436 - 437"},"PeriodicalIF":0.4,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10331867.2020.1834987","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48122115","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 : 2020-09-01DOI: 10.1080/10331867.2020.1834988
A. Leach, L. Stickells
{"title":"Report: “Distance Looks Back”: 36th Annual Conference of SAHANZ","authors":"A. Leach, L. Stickells","doi":"10.1080/10331867.2020.1834988","DOIUrl":"https://doi.org/10.1080/10331867.2020.1834988","url":null,"abstract":"","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"30 1","pages":"433 - 435"},"PeriodicalIF":0.4,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10331867.2020.1834988","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48703584","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 : 2020-09-01DOI: 10.1080/10331867.2020.1827555
J. Gatley
ABSTRACT Group Architects are New Zealand’s best-known practitioners of regional modernism. They are associated with the search for New Zealandness in architecture, even as international interests are acknowledged. In 2003, Group member Bruce Rotherham (1926–2004) distanced himself from much of this commentary, emphasising his own early focus on “space formed by building”, not New Zealandness. Of interest here is his privileging of building, that is, the assemblage and attributes of building materials. The article explores the materiality of Rotherham’s best-known New Zealand building, the Rotherham House in Stanley Bay, Auckland (1951). It interrogates each of the four main materials used in the house: wood, stone, brick and glass. It asks, what is the history of each material, and what does the way it was used reveal about Rotherham’s interests and influences? The article suggests that for Rotherham, Auckland’s nineteenth-century Gothic Revival timber churches were a likely New Zealand source of influence. It then goes further than previous scholarship on the Group by suggesting specific overseas buildings that Rotherham is likely to have known and that anticipate the material palette of the Rotherham House. Reference to the 1930s and 40s work of Frank Lloyd Wright, Le Corbusier and Alvar Aalto is recurrent.
{"title":"“Space Formed by Building” Part 1: Reading the Rotherham House through Its Materiality","authors":"J. Gatley","doi":"10.1080/10331867.2020.1827555","DOIUrl":"https://doi.org/10.1080/10331867.2020.1827555","url":null,"abstract":"ABSTRACT Group Architects are New Zealand’s best-known practitioners of regional modernism. They are associated with the search for New Zealandness in architecture, even as international interests are acknowledged. In 2003, Group member Bruce Rotherham (1926–2004) distanced himself from much of this commentary, emphasising his own early focus on “space formed by building”, not New Zealandness. Of interest here is his privileging of building, that is, the assemblage and attributes of building materials. The article explores the materiality of Rotherham’s best-known New Zealand building, the Rotherham House in Stanley Bay, Auckland (1951). It interrogates each of the four main materials used in the house: wood, stone, brick and glass. It asks, what is the history of each material, and what does the way it was used reveal about Rotherham’s interests and influences? The article suggests that for Rotherham, Auckland’s nineteenth-century Gothic Revival timber churches were a likely New Zealand source of influence. It then goes further than previous scholarship on the Group by suggesting specific overseas buildings that Rotherham is likely to have known and that anticipate the material palette of the Rotherham House. Reference to the 1930s and 40s work of Frank Lloyd Wright, Le Corbusier and Alvar Aalto is recurrent.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"30 1","pages":"371 - 397"},"PeriodicalIF":0.4,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/10331867.2020.1827555","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46088632","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 : 2020-09-01DOI: 10.1080/10331867.2020.1827551
Joanna Merwood-Salisbury
ABSTRACT In 1899 the American journalist Henry Demarest Lloyd was one of many social reformers who travelled to New Zealand to witness the social programmes instituted by the Liberal government. For Lloyd and other Progressives, New Zealand represented a model industrial democracy. His book Newest England (1900) describes Public Works Department projects built under the direction of the Department’s Minister, Richard Seddon, including the Makōhine Railway Viaduct. This viaduct was significant as the first steel structure built using the cooperative labour system. This paper places Lloyd’s interpretation of the Makōhine Viaduct within the Progressive discourse about design and labour taking place in Chicago around 1900, focusing on the activities of the Chicago Arts and Crafts Society of which Lloyd was a member. Attention to Lloyd’s Newest England reveals a radical plan for the future of industrial society, one that prefigured the technocracy movement of the early twentieth century. In its dedication to the aims of settler colonialism, it also reveals the theme of racial evolution underpinning Progressive visions of the coming industrial democracy. Exploring that theme, the paper expands scholarship on the origins of modern American architecture in Chicago to include the historical context of colonisation and global immigration.
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Pub Date : 2020-09-01DOI: 10.1080/10331867.2020.1827788
Silvia Micheli
ABSTRACT When Italian architect Enrico Taglietti landed in Sydney for the first time in 1955, he had no idea he would become one of the most acclaimed architects of Australia. The reason for his first trip to Sydney was the invitation to curate a commercial display of Italian design to be held at the country’s most famous department store, David Jones. Taglietti decided to set up his career in Australia after discovering Canberra, a city that he found inspiring and full of opportunities: a unique condition of tabula rasa. In 2007, Taglietti was awarded the Gold Medal of the Royal Australian Institute of Architects, becoming the second Italian-born architect to receive such an honour. This essay unpacks Taglietti’s move from Milan to Canberra, discussing his background, motivations, ambitions and vision for the capital city of Australia. The paper focuses in particular on the circumstances in which he discovered Canberra, critically positioning him as a “citizen of the world” – an expression he used referring to himself. In so doing, this paper adds a layer of complexity to the discourse of 20th century Australian émigré architects, considering the case of an Italian architect whose relocation to Australia was a deliberate choice.
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Pub Date : 2020-09-01DOI: 10.1080/10331867.2020.1857609
M. Lozanovska, A. Pieris, F. Haghighi, W. M. Taylor, J. Hou, J. Smitheram, L. Chee
This forum came about following conversations about the impact of the pandemic on architecture which brought attention to architectural histories related to hygiene, disease, and quarantine. The emptying of public spaces – railway stations, libraries, streets – and the closure of retail, cafes, and restaurants presented a reversal of the histories of public and private architectures. With the lockdown, hybrid use of domestic architecture was profiled. The dominant detached house with its outdoor spaces was revealed as a forgiving architectural typology during periods of restricted movement; at the same time, its endemic privatisation also served to hide domestic violence further. In contrast, public housing may have become the rare architectural typology of a pandemic “publicness” as underprivileged and migrant residents sought to maintain social distance within narrow shared corridors, inadequate or faulty elevators, and manually operable doorways. This was exemplified in the Victorian government’s two-week complete lockdown a public housing estate in North Melbourne raising community concerns about the racialised management of multicultural and vulnerable communities. Much closer analysis and detail of the inequalities are needed to trace the shocking images of this example of policeenforced lockdown. Neglect was also at the centre of the rising death toll in agedcare homes revealing the consequences of mismanagement and private institutionalised programmes of quasi-medical domesticity, in which elderly residents were trapped. We considered that one way to respond quickly to this present time of lockdown was to collect and collate a series of short position pieces. I invited Anoma Pieris to frame the forum in response to the pandemic, and to address how the Covid-19 crisis might cause us to reassess the meanings and functions of architecture. Anoma responded by reflecting on island quarantine and inviting several other colleagues to
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Pub Date : 2020-09-01DOI: 10.1080/10331867.2020.1827544
V. Bogdanova
ABSTRACT Fragility allows a deep development and understanding of the tie between the self and the outer surrounding. It softens the friction on the threshold between the known and the unknown. The paper elaborates three manifestations of fragility: Tarkovsky’s weak man [sic] presents meekness as a silent receptivity of the world; Vattimo’s weak thought demands a desire to search for the farthest Other – through sacrifice and kenosis; Sola-Morales’ weak architecture celebrates the undefined terrain vague and the rediscovery of ruins as layered trails of transience. A comparative understanding of the three manifestations brings an alternative reading of architectural history as a multiplicity of many realities that a single history masks, addresses, and reinforces. Here, the historian is an archaeologist, re-creating a mosaic of space-time: continuously operating between the bare evidence and its meaningful contemporary translation into a historical narrative.
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