Pub Date : 2021-09-02DOI: 10.1080/13264826.2021.1986937
William M. Taylor
Can a building be funny? According to contributing author and editor Michela Rosso and the essayists assembled for Laughing at Architecture, the answer is clearly “yes”—although essential to perceiving the butt of any kind of joke, understanding context counts for a lot. The choice of image for the volume’s cover is apropos: an eighteenth-century illustration of London’s fashionable elite mounting the vertiginously steep staircase to the Royal Academy at Somerset House on their way to see the new art season’s collection of paintings. (Visitors to the Courtauld Institute Gallery today can stumble in their footsteps.) The winding stair at Somerset House—barely reconciling an elegant half-circular plan with the functional requirement of access to multiple levels of the building—must have been as challenging for the architect William Chambers to detail as it was for his patrons to negotiate in person. In the illustration, the art-goers appear falling, head-over-heels, crinolines and fleshy backsides exposed to public view, a satirical slant on salon exhibitionism. Of course, the joke is not about just any old stair, designer or occasion. Rather, the scene relies on context for its comedy, on several forms of insider knowledge—of architectural history, construction, culture and custom, to name a few—although one wouldn’t say the drawing is an “inside joke” per se. Rosso introduces the volume, citing contributions to her longstanding interest in the relationship between architecture and humour that evolved from earlier research on parody and the historiography of English modernism. Rosso’s encounter with rare comic almanacs of London’s Great Exhibition in 1851 at the Yale Centre for British Art in New Haven was particularly formative in the development of interests she addresses throughout this volume. Likewise, period caricatures by William Hogarth and George Cruikshank that came before and after the Exhibition, and additional, lesser-known historical documents, as well as insightful, but generally limited contemporary scholarship on the subject all suggested to Rosso there was a major caesura for research to fill. Each essay explores this in more or less chronological order, while each is able to stand alone and address contextual matters in sufficient detail. Rosso and her contributors largely forego obtuse speculation on the philosophical or psychological reasons for joke-telling (over to Bergson and Freud). The essays, therefore, largely proceed without a general account of humour and its relationship to architecture (reception theory gets short shrift—nothing funny there), with Rosso observing early on that:
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Pub Date : 2021-09-02DOI: 10.1080/13264826.2021.1992840
H. Lewi
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Pub Date : 2021-08-04DOI: 10.1080/13264826.2021.1940478
Michael Tawa
For anyone struck by the cinema of Armenian filmmaker Sergei Paradjanov, Gilles Deleuze’s contention that his Sayat Nova (1969) represents “ponderous matter roused by the spirit”1 is an instructive...
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Pub Date : 2021-07-09DOI: 10.1080/13264826.2021.1939745
T. Avermaete, C. Nuijsink
Abstract This position paper addresses the ways that we historicise architectural modernism, especially within the context of the unprecedented global movements of people, ideas, materials and labour that characterised the post-war period. It suggests an alternative theoretical framing and corresponding historiography of global modernism, based on the concept of cross-cultural “contact zones.” A notion first coined by literature scholar Mary Louise Pratt in the context of colonial studies, architectural contact zones—competitions, exhibitions, congresses, biennales, summer schools—offer the possibility to rethink what innovation in architecture culture entails. Rather than underscoring the originality of the single genius-architect, contact zones offer a conception of architectural development that is based on a more global and multidirectional exchange of knowledge. Scrutinising the mechanisms behind architectural contact zones can result in a reframing of the history of architectural modernism as a cross-cultural, multi-authored and poly-conceptual matter.
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Pub Date : 2021-05-04DOI: 10.1080/13264826.2021.1957961
F. Floré
Abstract In the course of the twentieth century the Belgian wood firm De Coene, established in the late-nineteenth century, underwent a thorough modernisation. The company started off as a family business that specialised in art deco interiors and the importation of wood from the Belgian colony of the Congo, but quickly developed into an industrialised producer of cutting-edge modern furniture and building materials. This article explores the context for the Flemish company’s various innovations and products in the decades after the Second World War, in particular De Coene’s new headquarters, built on the factory grounds in Kortrijk in 1964. It approaches the building and its furnishings as valuable objects of study to increase our understanding of the changing perceptions of wood in the context of the post-war industrialisation in Belgium, the gradually liberalising European market, and the country’s changing relationship to the Congo.
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Pub Date : 2021-05-04DOI: 10.1080/13264826.2021.1958354
Yasmina El Chami
Abstract This paper explores the role of timber in articulating a modern American project in nineteenth-century Lebanon. It focuses on the architecture of the Syrian Protestant College in Beirut, an educational institution founded by American missionaries of the American Board of Commissioners for Foreign Missions in 1866. The paper examines the evolving role of timber within this foreign missionary project—deployed in multiple forms and scales—and traces the shifting values ascribed to its use. I argue that the missionaries used timber to elaborate specific relationships towards students and the city, reflecting cultural, racial, and religious notions of superiority, carving out an American “garden” in the “wilderness” of Ras Beirut. I analyze these theological aims and their practical application through the conceptual lens of Edward Said’s “modern Orientalism”. The deployment of timber as a claim-making and space-making device frames the construction of the Syrian Protestant College as a modern, imperial project.
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Pub Date : 2021-05-04DOI: 10.1080/13264826.2021.1980895
Alan Powers
Abstract Between 1936 and 1940, attention in British architectural media turned towards timber as a material for building in modern and traditional styles, stimulated by the Timber Trade Federation and its arm’s-length organisation, the Timber Development Association, and also by the desire of modern architects to try materials other than concrete. This paper describes the major events in this episode, the response of the press and the leading examples of timber buildings by leading modernists, including competition entries. It situates timber as a socially progressive material adopted by a younger generation with varied motives. This aspect of modernism was brought to an abrupt end by the shortages resulting from the Second World War, and never again achieved such prominence.
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Pub Date : 2021-05-04DOI: 10.1080/13264826.2021.1973048
Karl Kiem, Ann-Christin Stolz
Abstract The Siegen industrial region, an area with around a fifteen kilometre radius centred on the eponymous city in northwestern Germany, is renowned for its timber frame houses, dating from the late middle ages to the early-twentieth century. Among these, the houses that were constructed between 1870 and 1920 are noteworthy for their thin timber posts and the omission of short horizontal bars between the posts, known as rails. Starting in the 1960s, Bernd and Hilla Becher photographed roughly three hundred of these houses and, in a publication dating from 1977, selected and arranged them to create a kind of imagined, virtual place. Until now, these houses have received little theoretical or architectural historical interest concerning their origin and the importance of their construction. The new research presented in this article provides insight into their development and meaning, revealing how external forces of modernization interacted with local building traditions to produce a notable regional architecture at the onset of the twentieth century.
{"title":"Transfer and Transformation: Framing Timber without Rails in the Siegen Industrial Region and beyond from the Late Eighteenth to the Early Twentieth Centuries","authors":"Karl Kiem, Ann-Christin Stolz","doi":"10.1080/13264826.2021.1973048","DOIUrl":"https://doi.org/10.1080/13264826.2021.1973048","url":null,"abstract":"Abstract The Siegen industrial region, an area with around a fifteen kilometre radius centred on the eponymous city in northwestern Germany, is renowned for its timber frame houses, dating from the late middle ages to the early-twentieth century. Among these, the houses that were constructed between 1870 and 1920 are noteworthy for their thin timber posts and the omission of short horizontal bars between the posts, known as rails. Starting in the 1960s, Bernd and Hilla Becher photographed roughly three hundred of these houses and, in a publication dating from 1977, selected and arranged them to create a kind of imagined, virtual place. Until now, these houses have received little theoretical or architectural historical interest concerning their origin and the importance of their construction. The new research presented in this article provides insight into their development and meaning, revealing how external forces of modernization interacted with local building traditions to produce a notable regional architecture at the onset of the twentieth century.","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"25 1","pages":"180 - 198"},"PeriodicalIF":0.1,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48864972","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 : 2021-05-04DOI: 10.1080/13264826.2021.1973523
E. Carver
Abstract Resource conflicts in late nineteenth-century America transformed cultural and technical understandings of building materials as settlers and industrialists alike brought pressure to bear on the research university. Architect-engineer Frank Kidder and his Architectural Laboratory at the Massachusetts Institute of Technology provide a window onto how these politics transformed the symbolic and pedagogical significance of timber. While the university’s engineers worked to expand logging amidst deforestation, its architects, like William Ware and Henry Van Brunt, devised an allied esthetics of materials that valorized forests and settlers in nationalist terms. Kidder brought these disciplines together, embodying the educated woodsman that Ware and Van Brunt sought to cultivate. His 1884 pocketbook promulgated their simultaneously rationalist and nostalgic view of timber among the new class of professional architects they trained.
{"title":"From Pine Parthenons to Pocketbooks: Frank Kidder, MIT, and the Reinvention of American Timber ca. 1862–84","authors":"E. Carver","doi":"10.1080/13264826.2021.1973523","DOIUrl":"https://doi.org/10.1080/13264826.2021.1973523","url":null,"abstract":"Abstract Resource conflicts in late nineteenth-century America transformed cultural and technical understandings of building materials as settlers and industrialists alike brought pressure to bear on the research university. Architect-engineer Frank Kidder and his Architectural Laboratory at the Massachusetts Institute of Technology provide a window onto how these politics transformed the symbolic and pedagogical significance of timber. While the university’s engineers worked to expand logging amidst deforestation, its architects, like William Ware and Henry Van Brunt, devised an allied esthetics of materials that valorized forests and settlers in nationalist terms. Kidder brought these disciplines together, embodying the educated woodsman that Ware and Van Brunt sought to cultivate. His 1884 pocketbook promulgated their simultaneously rationalist and nostalgic view of timber among the new class of professional architects they trained.","PeriodicalId":43786,"journal":{"name":"Architectural Theory Review","volume":"25 1","pages":"42 - 63"},"PeriodicalIF":0.1,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41459685","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 : 2021-05-04DOI: 10.1080/13264826.2021.1971840
Marianne Burkhalter, Christian Sumi
Abstract This paper offers a speculative reflection on the structural concept developed by Konrad Wachsmann in 1953 and built in timber by burkhalter sumi together with Marko Pogacnik IUAV at the Venice Biennale in 2018. The resulting construction, entitled the “Grapevine,” is analyzed according to changing, fragmentary viewpoints that aim to expand the field of its understanding. The Gestalt (shape)—to a certain extent the “aesthetic culmination” of the construction—is examined with regard to the object’s immediate perception. In contrast, a semantic approach questions and interprets the “Grapevine” according to its overriding meaning as a “modern totem.” The object is then brought into relation to sculptures by Joel Shapiro. “Figure” (1989) raises the question of the unstable balance as an artistic intention, while the detail of “étude” (2006) questions the fragility of the joint, in contrast to the rigidity of tectonic connections as assumed by Gottfried Semper. The argument thus comes closer to the conceptual orientation of the Wachsmann construction, namely the knot subjected to tensile stress. Centered on the “Grapevine” installation, this paper illustrates how timber knowledge is formed outside the academy, in dialogues between architects, engineers and timber contractors.
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