Pub Date : 2022-09-02DOI: 10.1080/13264826.2023.2195192
Priya Jain
Abstract This paper analyzes the introduction of European prefabrication building systems in India in the years immediately after independence from Britain in 1947, through the lens of two episodes. In each case, the analysis challenges the often-perceived notion of the local, in this case Indian, actors in the Global South as mere recipients of superior foreign technologies, positing them instead as critical assessors, evaluators and decision makers. In the first example of UK’s Alcrete House, well known as the reason for German architect Otto Koenigsberger’s infamous departure from India, the paper examines archival materials, discussed here for the first time, to shed light on the role of Indian players who demanded accountability from foreign experts. In the second lesser-known example of the Swiss lightweight concrete building product, Durisol, the analysis highlights the role of local architects like Shaukat Rai, who deployed his own transnational and intranational networks in the product’s bid to enter the Indian construction market in the early 1950s.
{"title":"Prefabrication and Transnational Building Materials in Modern India","authors":"Priya Jain","doi":"10.1080/13264826.2023.2195192","DOIUrl":"https://doi.org/10.1080/13264826.2023.2195192","url":null,"abstract":"Abstract This paper analyzes the introduction of European prefabrication building systems in India in the years immediately after independence from Britain in 1947, through the lens of two episodes. In each case, the analysis challenges the often-perceived notion of the local, in this case Indian, actors in the Global South as mere recipients of superior foreign technologies, positing them instead as critical assessors, evaluators and decision makers. In the first example of UK’s Alcrete House, well known as the reason for German architect Otto Koenigsberger’s infamous departure from India, the paper examines archival materials, discussed here for the first time, to shed light on the role of Indian players who demanded accountability from foreign experts. In the second lesser-known example of the Swiss lightweight concrete building product, Durisol, the analysis highlights the role of local architects like Shaukat Rai, who deployed his own transnational and intranational networks in the product’s bid to enter the Indian construction market in the early 1950s.","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"26 1","pages":"519 - 546"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44789542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/13264826.2022.2200268
E. Seng, Jiat-Hwee Chang
Of late, much has been written about transnational networks of architectural practice and expertise in the mid-twentieth century, and understandably so, given the seismic geopolitical changes at that historical juncture. These networks emerged when decolonization and the formation of new nations combined to create a new international order. Within this schema, cosmopolitanism as an embedded political consciousness and solidarity is intensified. Decolonization and nation-building were not only particular and anti-universal processes: they frequently entailed what scholars like Adom Getachew have called “worldmaking”—the creation of broader transnational alliances and solidarities that sought to reorder the international structures of unequal integration and racial hierarchy inherited from Euro-American imperialism. At the same time, architectural practice itself was also being restructured around new modes of organization beyond the traditional firm. These included multidisciplinary collaborative practices and large state-linked or corporate entities directly or indirectly connected to foreign aid programs, regional associations, national and international development schemes, and circuits of transnational capital flow. The attendant restructuring of the geopolitics of architectural production and the organization of architectural labor means that questions of the architect’s belonging, subjectivity, and agency in this period must be carefully reconsidered historiographically. While many accounts of the circulation of knowledge and the movement of architects, planners, and designers across politically demarcated territories challenge and expand existing histories of modern architecture, most of these accounts continue to privilege the white male architect and the organizations he dominated in Europe and the geographical North as primary subjects. Work by non-white actors and non-white organizations remain largely invisible. Even when they are included, such accounts tend to relegate them to secondary roles as passive local collaborators and informants. They are consigned to being actors with limited cosmopolitanism and highly circumscribed agency within the transnational networks of architecture and planning. Even if many were educated in the metropole and practiced in a transboundary manner, their work was routinely described as a local response, not entirely understood within broader global discourses. A dialectic of such “local cosmopolitanism” and internationalism offers a means to historical recuperation as some might even have actively participated in architectural forms of worldmaking to reorder the structure behind the hegemony of Euro-American architects and architectural ideas. Even those who practiced within their national territories have contributed to the transnational networks by modulating and modifying them. The articles in this special issue focus on such marginalized figures of cosmopolitanism and their work of worldmaking. Thro
{"title":"Cosmopolitanism’s Agents and Architectural World making","authors":"E. Seng, Jiat-Hwee Chang","doi":"10.1080/13264826.2022.2200268","DOIUrl":"https://doi.org/10.1080/13264826.2022.2200268","url":null,"abstract":"Of late, much has been written about transnational networks of architectural practice and expertise in the mid-twentieth century, and understandably so, given the seismic geopolitical changes at that historical juncture. These networks emerged when decolonization and the formation of new nations combined to create a new international order. Within this schema, cosmopolitanism as an embedded political consciousness and solidarity is intensified. Decolonization and nation-building were not only particular and anti-universal processes: they frequently entailed what scholars like Adom Getachew have called “worldmaking”—the creation of broader transnational alliances and solidarities that sought to reorder the international structures of unequal integration and racial hierarchy inherited from Euro-American imperialism. At the same time, architectural practice itself was also being restructured around new modes of organization beyond the traditional firm. These included multidisciplinary collaborative practices and large state-linked or corporate entities directly or indirectly connected to foreign aid programs, regional associations, national and international development schemes, and circuits of transnational capital flow. The attendant restructuring of the geopolitics of architectural production and the organization of architectural labor means that questions of the architect’s belonging, subjectivity, and agency in this period must be carefully reconsidered historiographically. While many accounts of the circulation of knowledge and the movement of architects, planners, and designers across politically demarcated territories challenge and expand existing histories of modern architecture, most of these accounts continue to privilege the white male architect and the organizations he dominated in Europe and the geographical North as primary subjects. Work by non-white actors and non-white organizations remain largely invisible. Even when they are included, such accounts tend to relegate them to secondary roles as passive local collaborators and informants. They are consigned to being actors with limited cosmopolitanism and highly circumscribed agency within the transnational networks of architecture and planning. Even if many were educated in the metropole and practiced in a transboundary manner, their work was routinely described as a local response, not entirely understood within broader global discourses. A dialectic of such “local cosmopolitanism” and internationalism offers a means to historical recuperation as some might even have actively participated in architectural forms of worldmaking to reorder the structure behind the hegemony of Euro-American architects and architectural ideas. Even those who practiced within their national territories have contributed to the transnational networks by modulating and modifying them. The articles in this special issue focus on such marginalized figures of cosmopolitanism and their work of worldmaking. Thro","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"26 1","pages":"377 - 383"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47483718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/13264826.2023.2181835
R. Woudstra, Hannah le Roux
Abstract This article examines the design-research of the white, South African, left-wing, liberal architect Elizabeth “Betty” Spence (1919–84) during early spatial apartheid. Building on Spence’s fragmented archive of publications and interviews, we explore how she worked for and with disenfranchised Black township inhabitants on materializing alternative housing options. Spence’s approach included careful observation of how different inhabitants—particularly women—used interior spaces. While her work responded pragmatically to distinct South African social, economic, and racial challenges, this article shows that her design-research was indebted to both European design thinking on the optimization of domestic space and American-South African debates on “race relations.” Her concern with incremental housing, self-construction, and the process of building and homemaking in the townships, we argue, should be understood as a form of political action that enabled self-determination within the framework of modern urban life.
{"title":"“Build Your Own House”: Betty Spence’s Design-Research in 1950s South Africa","authors":"R. Woudstra, Hannah le Roux","doi":"10.1080/13264826.2023.2181835","DOIUrl":"https://doi.org/10.1080/13264826.2023.2181835","url":null,"abstract":"Abstract This article examines the design-research of the white, South African, left-wing, liberal architect Elizabeth “Betty” Spence (1919–84) during early spatial apartheid. Building on Spence’s fragmented archive of publications and interviews, we explore how she worked for and with disenfranchised Black township inhabitants on materializing alternative housing options. Spence’s approach included careful observation of how different inhabitants—particularly women—used interior spaces. While her work responded pragmatically to distinct South African social, economic, and racial challenges, this article shows that her design-research was indebted to both European design thinking on the optimization of domestic space and American-South African debates on “race relations.” Her concern with incremental housing, self-construction, and the process of building and homemaking in the townships, we argue, should be understood as a form of political action that enabled self-determination within the framework of modern urban life.","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"26 1","pages":"427 - 457"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41336747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/13264826.2022.2144394
P. Lefas
Abstract The present paper offers a new reading of Vitruvius’ opening statements in De Architectura I.1; it understands that the Roman author attempts to explain what architecture is by describing how architecture-related knowledge is acquired. It further understands that Vitruvius claims that the architect’s scientia is born out of the bodily involvement with construction, as well as out of the exercise of the proper deductive reasoning. The knowledge required for the design and erection of sound buildings that can be integrated into the world order is akin to what we today name the “designerly” way of thinking and knowing, enriched with expertise on the realization of the design produced. Finally, it proposes a new translation of I.1 that produces a coherent text with no logical gaps.
{"title":"A Contemporary Reading of Vitruvius’ Opening Statements and a Proposed New Partial Translation of De Architectura I.1","authors":"P. Lefas","doi":"10.1080/13264826.2022.2144394","DOIUrl":"https://doi.org/10.1080/13264826.2022.2144394","url":null,"abstract":"Abstract The present paper offers a new reading of Vitruvius’ opening statements in De Architectura I.1; it understands that the Roman author attempts to explain what architecture is by describing how architecture-related knowledge is acquired. It further understands that Vitruvius claims that the architect’s scientia is born out of the bodily involvement with construction, as well as out of the exercise of the proper deductive reasoning. The knowledge required for the design and erection of sound buildings that can be integrated into the world order is akin to what we today name the “designerly” way of thinking and knowing, enriched with expertise on the realization of the design produced. Finally, it proposes a new translation of I.1 that produces a coherent text with no logical gaps.","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"26 1","pages":"326 - 344"},"PeriodicalIF":0.1,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49138679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/13264826.2022.2162556
Mark Sawyer, G. Lindsay
Abstract Architecture, media, and the spatial practices of tourists relate to one another in complex ways. Images of buildings feature in place promotion strategies, and these representations are replicated in tourists’ own photographs from their visits. The social practices of people have spatial implications as places develop to allow for opportunities for the performance of practices associated with tourism, including photography. By tracing visual representations of four buildings in the regional mining-cum-tourist town of Beaconsfield, Tasmania, through a cross-section of media, we show how media-oriented practices intersect with architecture and tourism in a regional place. Beaconsfield’s historic buildings are mediated and shared by individuals and institutions online as well as in the form of physical objects used as keepsakes and gifts. They are also re-created in situ in the façades of nearby buildings, public artwork, and urban media. By interpreting this socio-spatial phenomenon through a practice-theory lens we theorise the mediatisation of architecture in a peripheral place showing that this process has both social and spatial implications.
{"title":"Performing “I Was Here”: Architecture and the Circle of Representation in a Peripheral Place","authors":"Mark Sawyer, G. Lindsay","doi":"10.1080/13264826.2022.2162556","DOIUrl":"https://doi.org/10.1080/13264826.2022.2162556","url":null,"abstract":"Abstract Architecture, media, and the spatial practices of tourists relate to one another in complex ways. Images of buildings feature in place promotion strategies, and these representations are replicated in tourists’ own photographs from their visits. The social practices of people have spatial implications as places develop to allow for opportunities for the performance of practices associated with tourism, including photography. By tracing visual representations of four buildings in the regional mining-cum-tourist town of Beaconsfield, Tasmania, through a cross-section of media, we show how media-oriented practices intersect with architecture and tourism in a regional place. Beaconsfield’s historic buildings are mediated and shared by individuals and institutions online as well as in the form of physical objects used as keepsakes and gifts. They are also re-created in situ in the façades of nearby buildings, public artwork, and urban media. By interpreting this socio-spatial phenomenon through a practice-theory lens we theorise the mediatisation of architecture in a peripheral place showing that this process has both social and spatial implications.","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"26 1","pages":"291 - 306"},"PeriodicalIF":0.1,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41750712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/13264826.2023.2168712
Elizabeth M. Keslacy
Abstract In the latter half of the nineteenth century, architecture was regularly celebrated as “the mother of the arts.” Though most users of the phrase rarely explicated its nuances, a close reading of the contexts and debates in which it was invoked reveals the complexity, nuance, and changing implications of the deceptively simple claim. In a period when the fine and applied arts grew increasingly distinct and the practice of architecture was progressively codified and professionalized, why did architects engage in rhetoric that emphasized architecture’s affiliation with and authority over the arts? To answer this question, I examine numerous instantiations of the phrase to trace an arc in which an earlier disciplinary affiliation between architecture and the fine arts transforms into an interpersonal relationship between architects and art-workers. In so doing, I suggest that the maternal metaphor was employed in response to collectively held anxieties to invert and project them as conceptual and historical claims of affiliation, authority, and identity—precisely those characteristics of the profession that were unstable at the time.
{"title":"Architecture’s Maternity: Conceiving the Mother of the Arts in the Long Nineteenth Century","authors":"Elizabeth M. Keslacy","doi":"10.1080/13264826.2023.2168712","DOIUrl":"https://doi.org/10.1080/13264826.2023.2168712","url":null,"abstract":"Abstract In the latter half of the nineteenth century, architecture was regularly celebrated as “the mother of the arts.” Though most users of the phrase rarely explicated its nuances, a close reading of the contexts and debates in which it was invoked reveals the complexity, nuance, and changing implications of the deceptively simple claim. In a period when the fine and applied arts grew increasingly distinct and the practice of architecture was progressively codified and professionalized, why did architects engage in rhetoric that emphasized architecture’s affiliation with and authority over the arts? To answer this question, I examine numerous instantiations of the phrase to trace an arc in which an earlier disciplinary affiliation between architecture and the fine arts transforms into an interpersonal relationship between architects and art-workers. In so doing, I suggest that the maternal metaphor was employed in response to collectively held anxieties to invert and project them as conceptual and historical claims of affiliation, authority, and identity—precisely those characteristics of the profession that were unstable at the time.","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"26 1","pages":"345 - 371"},"PeriodicalIF":0.1,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47672597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/13264826.2023.2173791
C. Ford
Abstract This article explores the trajectories of two women architects, Margarete Schütte-Lihotzky and Juliette Tréant-Mathé, who, in contrast to most of their female counterparts in interwar Europe, devoted much of their architectural work to the design of social housing. It examines the nature of the shared social activism that informed their work, while considering the gendered dimension of their architectural designs in the 1920s and 1930s. It assesses how Schütte-Lihotzky, in particular, participated in the discussions about the relationship between Existenzminimum, or the minimum level of conditions needed for living, and the construction of housing for single professional women, and how the design of domestic architecture could respond to their needs. Finally, it examines their largely unexplored contributions as women architects to broader debates about “the new dwelling” and the role of architecture in modern life more generally.
{"title":"“Woman as Creator”: Margarete Schütte-Lihotzky’s and Juliette Tréant-Mathé’s Design of the New Dwelling in Interwar Europe","authors":"C. Ford","doi":"10.1080/13264826.2023.2173791","DOIUrl":"https://doi.org/10.1080/13264826.2023.2173791","url":null,"abstract":"Abstract This article explores the trajectories of two women architects, Margarete Schütte-Lihotzky and Juliette Tréant-Mathé, who, in contrast to most of their female counterparts in interwar Europe, devoted much of their architectural work to the design of social housing. It examines the nature of the shared social activism that informed their work, while considering the gendered dimension of their architectural designs in the 1920s and 1930s. It assesses how Schütte-Lihotzky, in particular, participated in the discussions about the relationship between Existenzminimum, or the minimum level of conditions needed for living, and the construction of housing for single professional women, and how the design of domestic architecture could respond to their needs. Finally, it examines their largely unexplored contributions as women architects to broader debates about “the new dwelling” and the role of architecture in modern life more generally.","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"26 1","pages":"241 - 272"},"PeriodicalIF":0.1,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44532391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/13264826.2022.2171819
Andrew Leach, Jasper Ludewig
The papers in this open issue of ATR reflect on the history of ideas concerning architecture and its status, on the conditions of those who have been admitted to the fraternity of archi-tects, on the architect ’ s imagination (modernist, postmodern, and ancient), and on the settings in which that imagination can be put to work. Each of the contributions that follow one way or another return to the question of what architecture is and has been, how it is thought — now and in specific pasts — and what it makes possible. As such, it is welcome recollection of this journal ’ s scope, built up over the course of the last year and without the guiding hand of the clearly defined themes of the special issues that flank it in the present volume. The issue ’ s first paper, by historian Caroline Ford, returns to her lecture at the joint meeting of the Society of Architectural Historians, Australia and New Zealand, and the European Architectural Network, held in Sydney in 2019. Taking the parallel cases of Margarete Sch € utte-Lihotzky in Vienna (and elsewhere) and Juliette Tr (cid:2) eant-Math (cid:2) e in Paris (and elsewhere), she considers the terms on which these two women engaged with prob-lems of social housing, and through it, with the progressive edges of architectural practice and discourse. Ford ’ s paper plays one case — more familiar, but on limited terms — against another, to show the work yet to be done in understanding the moment and legacies of modern architecture in the round. This,
{"title":"Editorial","authors":"Andrew Leach, Jasper Ludewig","doi":"10.1080/13264826.2022.2171819","DOIUrl":"https://doi.org/10.1080/13264826.2022.2171819","url":null,"abstract":"The papers in this open issue of ATR reflect on the history of ideas concerning architecture and its status, on the conditions of those who have been admitted to the fraternity of archi-tects, on the architect ’ s imagination (modernist, postmodern, and ancient), and on the settings in which that imagination can be put to work. Each of the contributions that follow one way or another return to the question of what architecture is and has been, how it is thought — now and in specific pasts — and what it makes possible. As such, it is welcome recollection of this journal ’ s scope, built up over the course of the last year and without the guiding hand of the clearly defined themes of the special issues that flank it in the present volume. The issue ’ s first paper, by historian Caroline Ford, returns to her lecture at the joint meeting of the Society of Architectural Historians, Australia and New Zealand, and the European Architectural Network, held in Sydney in 2019. Taking the parallel cases of Margarete Sch € utte-Lihotzky in Vienna (and elsewhere) and Juliette Tr (cid:2) eant-Math (cid:2) e in Paris (and elsewhere), she considers the terms on which these two women engaged with prob-lems of social housing, and through it, with the progressive edges of architectural practice and discourse. Ford ’ s paper plays one case — more familiar, but on limited terms — against another, to show the work yet to be done in understanding the moment and legacies of modern architecture in the round. This,","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"26 1","pages":"239 - 240"},"PeriodicalIF":0.1,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45716419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/13264826.2022.2162557
Linda Buhagiar
Abstract Philosopher Hans Blumenberg’s book Das Lachen der Thrakerin (1987, The Laughter of the Thracian Woman) addresses the various iterations of a single Aesop’s Fable. In the anecdote, a stargazing philosopher stumbles into a well and a maid laughs at his absentmindedness. Blumenberg suggests the various reinterpretations of the anecdote over the millennia reveal each epoch’s attitude towards philosophical endeavour. The work becomes a metanarrative when the laughter directed at diligent scholars is extended to Blumenberg and his readers. For architects, speculating about that laughter offers insights into the indeterminacy of architectural meaning. To demonstrate, this paper deconstructs two anecdotes from architectural discourse to contribute an alternate and nuanced perspective of the relationship between architecture and philosophy. The first anecdote regards a border-crossing from Le Corbusier’s writing, and the second is an epiphany from Charles Jencks. Lastly, this paper considers the creative returns potentially generated for architects through ambiguity and misunderstanding.
{"title":"Philosophy from the Bottom of the Well: The Creative Potential of Misunderstanding Metaphorical Anecdotes","authors":"Linda Buhagiar","doi":"10.1080/13264826.2022.2162557","DOIUrl":"https://doi.org/10.1080/13264826.2022.2162557","url":null,"abstract":"Abstract Philosopher Hans Blumenberg’s book Das Lachen der Thrakerin (1987, The Laughter of the Thracian Woman) addresses the various iterations of a single Aesop’s Fable. In the anecdote, a stargazing philosopher stumbles into a well and a maid laughs at his absentmindedness. Blumenberg suggests the various reinterpretations of the anecdote over the millennia reveal each epoch’s attitude towards philosophical endeavour. The work becomes a metanarrative when the laughter directed at diligent scholars is extended to Blumenberg and his readers. For architects, speculating about that laughter offers insights into the indeterminacy of architectural meaning. To demonstrate, this paper deconstructs two anecdotes from architectural discourse to contribute an alternate and nuanced perspective of the relationship between architecture and philosophy. The first anecdote regards a border-crossing from Le Corbusier’s writing, and the second is an epiphany from Charles Jencks. Lastly, this paper considers the creative returns potentially generated for architects through ambiguity and misunderstanding.","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"26 1","pages":"307 - 325"},"PeriodicalIF":0.1,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42568916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/13264826.2022.2130948
Yoonchun Jung
Abstract As urban regeneration projects of the late 1960s proceeded in an expanding Seoul, the Yeouido Apartments Project was in 1972 envisaged as the city’s the first international high-rise housing complex. The project was a joint venture between a government-sponsored architectural organisation and a US firm, collaborating to realise the architecture of the American metropolis in Korea. To create diverse and user-specific living environments, the architects embraced participatory design. In response to local conditions, the architecture’s structural, technological, and systematic ideas and details, views, mobilities and flows, and attention to future changes and growth were analysed and developed for emotive living environments. The Yeouido Apartments Project indexes a variety of contemporary architectural and urban concerns across time and place: from the international to the local, from the collective to the individual. Its narrative is one of internationalising the local by imagining a sustainable metropolitan apartment complex in the urban core of Seoul.
{"title":"Internationalising the Local: An Architectural Scenario for the First Metropolitan Apartments in Seoul’s Manhattan","authors":"Yoonchun Jung","doi":"10.1080/13264826.2022.2130948","DOIUrl":"https://doi.org/10.1080/13264826.2022.2130948","url":null,"abstract":"Abstract As urban regeneration projects of the late 1960s proceeded in an expanding Seoul, the Yeouido Apartments Project was in 1972 envisaged as the city’s the first international high-rise housing complex. The project was a joint venture between a government-sponsored architectural organisation and a US firm, collaborating to realise the architecture of the American metropolis in Korea. To create diverse and user-specific living environments, the architects embraced participatory design. In response to local conditions, the architecture’s structural, technological, and systematic ideas and details, views, mobilities and flows, and attention to future changes and growth were analysed and developed for emotive living environments. The Yeouido Apartments Project indexes a variety of contemporary architectural and urban concerns across time and place: from the international to the local, from the collective to the individual. Its narrative is one of internationalising the local by imagining a sustainable metropolitan apartment complex in the urban core of Seoul.","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"26 1","pages":"273 - 290"},"PeriodicalIF":0.1,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48815895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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