Pub Date : 2021-07-03DOI: 10.1080/20507828.2021.1907984
Sol Camacho
Abstract Thirty years after its creation, this article provides insights into the Instituto Bardi’s archive, responsible for over 40,000 items from Lina Bo and Pietro Maria Bardi’s collection. It discusses the Bardi couple’s intention of creating an archive within the space of their dwelling as part of a broader preservation plan of their design, which involved the foundation of a cultural institution and the historical listing of their residence, Casa de Vidro, in Morumbi, São Paulo, Brazil, along with the furniture and artwork within it. Furthermore, this essay discusses the main challenges faced in the establishment and operation of an architectural archive in the Brazilian cultural, economic and political context, as well as the dynamics involved in the preservation of its items in parallel to the dissemination of Lina and Pietro’s oeuvre. In addition to discussing and examining matters specific to the Bardis’ archive collection, this essay raises questions of archival systematization that need to be addressed according to specific situations, such as accessibility of the contents, loan policies, and financial stability.
创建30年后，本文提供了对巴蒂研究所档案的见解，该档案负责Lina Bo和Pietro Maria Bardi收藏的40,000多件物品。它讨论了Bardi夫妇的意图，在他们的住宅空间内创建一个档案馆，作为他们设计的更广泛的保护计划的一部分，该计划涉及文化机构的基础和他们的住宅Casa de Vidro的历史清单，位于巴西圣保罗的Morumbi，以及其中的家具和艺术品。此外，本文还讨论了在巴西文化、经济和政治背景下建立和运营建筑档案馆所面临的主要挑战，以及在传播Lina和Pietro作品的同时，保护其项目所涉及的动态。除了讨论和考察巴尔迪斯档案收藏的具体问题外，本文还提出了档案系统化的问题，这些问题需要根据具体情况来解决，例如内容的可及性、借阅政策和财务稳定性。
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Pub Date : 2021-07-03DOI: 10.1080/20507828.2021.1939527
Marco Frascari
{"title":"Frontispiece","authors":"Marco Frascari","doi":"10.1080/20507828.2021.1939527","DOIUrl":"https://doi.org/10.1080/20507828.2021.1939527","url":null,"abstract":"","PeriodicalId":42146,"journal":{"name":"Architecture and Culture","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42587683","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 : 2021-07-03DOI: 10.1080/20507828.2021.1889856
Berrin Terim
Abstract The first illustrated manuscript on architecture was produced in the fifteenth century by a sculptor turned architect, known as Filarete (1400–1469). Written as a dialogical narrative, taking place between a patron and his architect, the treatise’s pedagogical tone unfolds as a form of storytelling about the design and construction of an ideal city. Accordingly, the architectural drawings accompanying the text hold a polysemous nature. Disegno constitutes the first step of the design process within the overall narrative, while also providing a visual demonstration of the author’s words. However, the discovery taking place in the story of an illustrated ancient codex – memoria – suggests another way to interpret the architect’s intentions. The literary maneuver of inserting a book within another book and the intertwined nature of word and image allow Filarete to use his Libro to document his accomplishments and the wonders he could build with the support of a devoted patron. Under the semblance of suggesting to his patron to construct a memoria of his buildings, Filarete curates his Libro in the form of an archive, through which, ideologically, he can leave his own name to posterity as an architect.
{"title":"Filarete’s Libro and Memoria: The Archive within a Book","authors":"Berrin Terim","doi":"10.1080/20507828.2021.1889856","DOIUrl":"https://doi.org/10.1080/20507828.2021.1889856","url":null,"abstract":"Abstract The first illustrated manuscript on architecture was produced in the fifteenth century by a sculptor turned architect, known as Filarete (1400–1469). Written as a dialogical narrative, taking place between a patron and his architect, the treatise’s pedagogical tone unfolds as a form of storytelling about the design and construction of an ideal city. Accordingly, the architectural drawings accompanying the text hold a polysemous nature. Disegno constitutes the first step of the design process within the overall narrative, while also providing a visual demonstration of the author’s words. However, the discovery taking place in the story of an illustrated ancient codex – memoria – suggests another way to interpret the architect’s intentions. The literary maneuver of inserting a book within another book and the intertwined nature of word and image allow Filarete to use his Libro to document his accomplishments and the wonders he could build with the support of a devoted patron. Under the semblance of suggesting to his patron to construct a memoria of his buildings, Filarete curates his Libro in the form of an archive, through which, ideologically, he can leave his own name to posterity as an architect.","PeriodicalId":42146,"journal":{"name":"Architecture and Culture","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20507828.2021.1889856","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47123445","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 : 2021-07-03DOI: 10.1080/20507828.2021.1938851
F. Goffi
This special issue of Architecture and Culture on the ethics, power and politics in the stories of collecting, archiving and displaying architecture media draws attention to curatorial responsibilities in finding the proper placement for architecture collections, and how accessibility, reproducibility and promotion impact the cultural, economic and socio-political role of architecture media. And Yet It Moves questions the relevance of translations from place to place when mobile architecture media moves between offices, buildings, archives, exhibition spaces and websites. How does mobile media generate a dynamic trans-mediated construction and construing, finding renewed significance over time? This is also the subject of the parallel publication to this journal, The Routledge Companion to Architectural Drawings and Models: From Translating to Archiving, Collecting and Displaying by the same editor (forthcoming). Architect and historian Robin Evans (1944–1993) outlined the imaginative role of the translational gap between drawings and buildings. Yet, translation does not end when buildings are built, ARCHITECTURE AND CULTURE
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Pub Date : 2021-06-25DOI: 10.1080/20507828.2021.1927601
S. Rodeš
Abstract The article examines the increasing complexity of the relationship between contemporary architecture and media image by focusing on Office for Metropolitan Architecture (OMA)’s Chinese Central Television Headquarters (CCTV) in Beijing in China, completed in 2012. Here, the CCTV is positioned within a global capitalist system, designed by a brand-architect. It is also deemed an example of productive image-architecture relationships, productive of theoretical discourses, architecture and the construction of architect’s brand identity and fame. Considering that architectural historian Aaron Betsky regarded Rem Koolhaas as architect able to produce “a convincing architecture of image” (Patteeuw 2003, 39), this article argues that the very nature of what a convincing architecture of image is is under threat, and contends that at the mercy of media, architecture can be devalued through objectification through media consumption. This article thereby aims to expand the understanding of the productive relationships between architecture and media images.
{"title":"Examining an Architecture of Image: OMA’s CCTV Headquarters","authors":"S. Rodeš","doi":"10.1080/20507828.2021.1927601","DOIUrl":"https://doi.org/10.1080/20507828.2021.1927601","url":null,"abstract":"Abstract The article examines the increasing complexity of the relationship between contemporary architecture and media image by focusing on Office for Metropolitan Architecture (OMA)’s Chinese Central Television Headquarters (CCTV) in Beijing in China, completed in 2012. Here, the CCTV is positioned within a global capitalist system, designed by a brand-architect. It is also deemed an example of productive image-architecture relationships, productive of theoretical discourses, architecture and the construction of architect’s brand identity and fame. Considering that architectural historian Aaron Betsky regarded Rem Koolhaas as architect able to produce “a convincing architecture of image” (Patteeuw 2003, 39), this article argues that the very nature of what a convincing architecture of image is is under threat, and contends that at the mercy of media, architecture can be devalued through objectification through media consumption. This article thereby aims to expand the understanding of the productive relationships between architecture and media images.","PeriodicalId":42146,"journal":{"name":"Architecture and Culture","volume":null,"pages":null},"PeriodicalIF":0.8,"publicationDate":"2021-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20507828.2021.1927601","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48672766","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 : 2021-06-24DOI: 10.1080/20507828.2021.1924553
N. Frayne
Abstract Drawing on the philosophies of Mbembe, Butler, Deleuze and Guattari, and a range of interdisciplinary authors, this article argues that history, which is the perceptual field through which our visions of the world are constructed, can actively hide or legitimize violence by creating fixed, borderized senses of identity. As part of this construction, architecture should, I contend, work to provoke unstable visions of the world: it should be “uncertain.” Through the National Memorial for Peace and Justice, I explore how the use of uncertain, bodily movement through space can resist grand narratives and uncritical histories. Through uncertainty, the memorial reconfigures the normative interpretive horizons we bring to our lived encounters to become less fixed and thereby less amenable to violence. Uncertain architecture offers an original way to think through the challenges of world-making in an increasingly compartmentalized and enclosed world.
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Pub Date : 2021-06-15DOI: 10.1080/20507828.2021.1876596
J. Rowen
Abstract Around 1700, the French administration had few tools for understanding its domain. Expenses from constant war incited the regime to develop new representational means of conveying knowledge about state contents and extents across geographic distances, in order to assess available resources and productivity. This article argues that administrators formulated the state based on technologies for enumerating the land and subjects it comprised. Two documents exhibit this consolidation by collecting information: Sébastien Le Prestre de Vauban’s taxation proposal, which included a comprehensive census; and a series of physical models of towns, or plan-reliefs, which amalgamated skills of builders, engineers, geographers, geologists, surveyors, and craftspeople to create material visualizations of territorial possession. Both relied on recursive processes: diffusion to gather information, collation, then returning to the field. In combination, these two artifacts demonstrate the ways in which a still-inchoate state developed spatial instruments for government according to incipient theories of political economy.
1700年前后，法国政府几乎没有工具来理解其领域。持续不断的战争开支促使政权发展新的代表性手段，以跨越地理距离传达有关国家内容和范围的知识，以评估可用的资源和生产力。本文认为，国家的形成是基于对土地及其所包含的主体的枚举技术。有两份文件通过收集资料展示了这种整合:ssamubastien Le Prestre de Vauban的税收提案，其中包括全面的人口普查;还有一系列城镇的物理模型，或称浮雕图，这些模型结合了建筑商、工程师、地理学家、地质学家、测量员和手工艺者的技能，创造了领土占有的物质可视化。两者都依赖于递归过程:扩散收集信息，整理，然后返回现场。结合起来，这两件文物展示了一个仍处于起步阶段的国家根据早期的政治经济学理论为政府开发空间工具的方式。
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Pub Date : 2021-06-09DOI: 10.1080/20507828.2021.1876454
Y. Putra
Abstract This article identifies architectural drawings as "ugly" not aesthetically, but where there are difficult origins or content. It argues for an explicit methodology for their curation and display. The twentieth- and twenty-first-century shift in the viewing of architectural drawings has brought architectural drawings closer to artworks for public consumption. However, the recent reassessment of cultural artifacts clashes with the widely accepted cultural and social mores. By examining drawings by the Australian architect William Hardy Wilson (1881–1955), this article proposes recommendations for the curation and display of ugly architectural drawings that are borrowed from other fields that have made progress in managing similar problems. By testing the recommendations against Hardy Wilson’s drawings, this article shows that contextualizing and acknowledging the offensive nature of his drawings allows for a critical reckoning of Australian architecture across the scholarly, industrial and public spheres.
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Pub Date : 2021-04-29DOI: 10.1080/20507828.2021.1894063
Julien Lafontaine Carboni
Abstract What happens if architectural knowledge is not mediated through drawing or does not produce any type of record? How can an architectural archive exist and make sense in a context where the circulation of knowledge and the emergence of spatialities leave no physical traces? This essay offers insights into the traces left by undrawn spatialities and how they could be recorded and interpreted in architectural archives based on observations on the history of the Sahrawi refugee camps in archiving oral memories in collaboration with the Sahrawi Ministry of Culture. A project was launched to archive and maintain nomadic knowledge circulation that has been short-circuited by protracted immobilization. This essay proposes that gestures, words and bodies- as producers of undrawn architecture -allow other regimes and traces of spatialities to emerge.
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Pub Date : 2021-04-26DOI: 10.1080/20507828.2021.1876490
C. Conforti, Fabio Colonnese, Maria Grazia D’Amelio, L. Grieco
Abstract Full-size models are powerful and expansive tools required in critical constructive situations and contexts. Part of both sculptural and architectural creative processes, they have been privileged by Renaissance artists such as Michelangelo and Bernini, who were architects and sculptors at the same time. Several documented cases of their real-size models reproducing portions of buildings on-site and modified ad libitum (at one’s pleasure) are discussed here. Promoted in major Roman projects, full-size models served many purposes, from testing innovative solutions to public events and political propaganda. In more recent times, they continued to be central to urban, architectural, and artistic works, implicitly intertwined with the production of exhibitions and movies, which were promoted by the fascist party between the 1920s and 1940s in Italy, encouraging and enhancing the media potential of architecture.
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