Pub Date : 2022-09-01DOI: 10.1017/s1359135522000331
A. Fair
Queer Spaces: An Atlas of LGBTQIA+ Places & Stories, edited by Adam Nathanial Furman and Joshua Mardell, is a landmark work in the history of architecture and the city. Bringing together some fifty contributors to discuss almost one hundred buildings and sites (and a few unbuilt projects), this global survey offers a much-needed and diverse overview of the ways in which, since the eighteenth century, queer people have created and appropriated spaces, buildings, and places, for a diverse range of uses from the intensely personal to the highly public. The book’s title is clearly deliberate. Although it has echoes of Aaron Betsky’s seminal Queer Space: Architecture and Same-Sex Desire,1 the plural in the title of the current work – ‘spaces’ is key. Whereas Betsky’s title implied a singular ‘queer space’, Furman and Mardell are concerned to highlight a range of voices and perspectives, from around the globe. For the editors of this volume, queer spaces have a fundamental significance: they are ‘places where you can express yourself without fear or shame.’2 Olivia Laing’s foreword quotes the lyrics to the Pet Shop Boys’ song ‘Being Boring’ in support of this idea: ‘I never dreamt that I would get to be / the creature that I meant to be’, representing what Laing calls ‘the idea of a hidden self, a mysterious creature that can emerge from its chrysalis, given the right conditions.’3 Queer spaces are thus the ‘ecosystem’ that supports this transformation, ranging from buildings designed to support particular ways of living, to subversive, perhaps transient appropriations and adaptations of the built environment. Discussions of queer architecture and urbanism have emerged in print since the 1990s but, though ground-breaking and essential, have often been narrowly focused in terms of place, ethnicity, and gender.4 In contrast, Queer ‘...how, since the eighteenth century, queer people have created and appropriated spaces, buildings, and places ...’
{"title":"Alistair Fair on supporting transformation","authors":"A. Fair","doi":"10.1017/s1359135522000331","DOIUrl":"https://doi.org/10.1017/s1359135522000331","url":null,"abstract":"Queer Spaces: An Atlas of LGBTQIA+ Places & Stories, edited by Adam Nathanial Furman and Joshua Mardell, is a landmark work in the history of architecture and the city. Bringing together some fifty contributors to discuss almost one hundred buildings and sites (and a few unbuilt projects), this global survey offers a much-needed and diverse overview of the ways in which, since the eighteenth century, queer people have created and appropriated spaces, buildings, and places, for a diverse range of uses from the intensely personal to the highly public. The book’s title is clearly deliberate. Although it has echoes of Aaron Betsky’s seminal Queer Space: Architecture and Same-Sex Desire,1 the plural in the title of the current work – ‘spaces’ is key. Whereas Betsky’s title implied a singular ‘queer space’, Furman and Mardell are concerned to highlight a range of voices and perspectives, from around the globe. For the editors of this volume, queer spaces have a fundamental significance: they are ‘places where you can express yourself without fear or shame.’2 Olivia Laing’s foreword quotes the lyrics to the Pet Shop Boys’ song ‘Being Boring’ in support of this idea: ‘I never dreamt that I would get to be / the creature that I meant to be’, representing what Laing calls ‘the idea of a hidden self, a mysterious creature that can emerge from its chrysalis, given the right conditions.’3 Queer spaces are thus the ‘ecosystem’ that supports this transformation, ranging from buildings designed to support particular ways of living, to subversive, perhaps transient appropriations and adaptations of the built environment. Discussions of queer architecture and urbanism have emerged in print since the 1990s but, though ground-breaking and essential, have often been narrowly focused in terms of place, ethnicity, and gender.4 In contrast, Queer ‘...how, since the eighteenth century, queer people have created and appropriated spaces, buildings, and places ...’","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82659880","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 : 2022-09-01DOI: 10.1017/s1359135522000276
Kieran Cremin
{"title":"Kieran Cremin on mythology, contextual sensitivity, and the monstrous","authors":"Kieran Cremin","doi":"10.1017/s1359135522000276","DOIUrl":"https://doi.org/10.1017/s1359135522000276","url":null,"abstract":"","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88743161","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 : 2022-09-01DOI: 10.1017/S1359135522000458
M. R. de la O Cabrera
Contemporary ecological discourse in architecture is often built upon an approach based on quantitative parameters, characterised by the use of scientific data for environmentally sound architectural design. This article questions how such an ecological approach relates to the architectural image, experience, and inhabitation. Through two archetypical projects - Siegfried Ebeling’s Wohnkubus (1926) and Cedric Price’s Generator (1976-9) – this article examines a possible theory of ecologically oriented architecture which engages aesthetic values related to the human experience of architectural space. The projects are separated by the same fifty-year gap that separates Generator from present day, and the article therefore tries to reveal if and how both archetypes could suggest the need for an updated model for environmental design. What can we learn from these projects, and how do the Wohnkubus and Generator unveil other modelling practices? Is architecture today capable of (or even entitled to) producing exemplary representations committed to the ethical dimension of the global change?
{"title":"Dice of sensation: envisioning the phenomenological dimension of ecology","authors":"M. R. de la O Cabrera","doi":"10.1017/S1359135522000458","DOIUrl":"https://doi.org/10.1017/S1359135522000458","url":null,"abstract":"Contemporary ecological discourse in architecture is often built upon an approach based on quantitative parameters, characterised by the use of scientific data for environmentally sound architectural design. This article questions how such an ecological approach relates to the architectural image, experience, and inhabitation. Through two archetypical projects - Siegfried Ebeling’s Wohnkubus (1926) and Cedric Price’s Generator (1976-9) – this article examines a possible theory of ecologically oriented architecture which engages aesthetic values related to the human experience of architectural space. The projects are separated by the same fifty-year gap that separates Generator from present day, and the article therefore tries to reveal if and how both archetypes could suggest the need for an updated model for environmental design. What can we learn from these projects, and how do the Wohnkubus and Generator unveil other modelling practices? Is architecture today capable of (or even entitled to) producing exemplary representations committed to the ethical dimension of the global change?","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85345294","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 : 2022-09-01DOI: 10.1017/s1359135522000525
{"title":"ARQ volume 26 issue 3 Cover and Front matter","authors":"","doi":"10.1017/s1359135522000525","DOIUrl":"https://doi.org/10.1017/s1359135522000525","url":null,"abstract":"","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80345823","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 : 2022-09-01DOI: 10.1017/s1359135522000483
J. Melvin
(born 23 July 1933, died 18 December 2021) must be assured well into the future. Over the course of his career spanning around sixty years – from his earliest work to his retirement from the practice of Rogers Stirk Harbour + Partners, since renamed RSHP – he won most of the major awards available to architects, including the RIBA’s Royal Gold Medal (1985) and the Pritzker Prize (2007) [1]. His firm twice won the Stirling Prize for the best building in a given year in the UK (2006 and 2009), a rare achievement. And his work has helped to shape major cities across the world including Paris, London, Tokyo, Sydney, New York, and Barcelona. In parallel to these conventional tokens of architectural success are his less appreciated achievements as a politician and public servant. Among these public roles, he was a member for the Labour Party of the House of Lords, the upper chamber of the British parliament (which granted him the title of Lord Rogers of Riverside) from 1996 until 2021; he chaired the Urban Task Force established by the Labour Government under Prime Minister Tony Blair to recommend how to reverse urban decline in Britain, which reported in 1999; and between 2000 and 2009 he advised the first two mayors of London on design. He was also closely involved with numerous social causes and initiatives.
{"title":"Richard Rogers: 1933–2021","authors":"J. Melvin","doi":"10.1017/s1359135522000483","DOIUrl":"https://doi.org/10.1017/s1359135522000483","url":null,"abstract":"(born 23 July 1933, died 18 December 2021) must be assured well into the future. Over the course of his career spanning around sixty years – from his earliest work to his retirement from the practice of Rogers Stirk Harbour + Partners, since renamed RSHP – he won most of the major awards available to architects, including the RIBA’s Royal Gold Medal (1985) and the Pritzker Prize (2007) [1]. His firm twice won the Stirling Prize for the best building in a given year in the UK (2006 and 2009), a rare achievement. And his work has helped to shape major cities across the world including Paris, London, Tokyo, Sydney, New York, and Barcelona. In parallel to these conventional tokens of architectural success are his less appreciated achievements as a politician and public servant. Among these public roles, he was a member for the Labour Party of the House of Lords, the upper chamber of the British parliament (which granted him the title of Lord Rogers of Riverside) from 1996 until 2021; he chaired the Urban Task Force established by the Labour Government under Prime Minister Tony Blair to recommend how to reverse urban decline in Britain, which reported in 1999; and between 2000 and 2009 he advised the first two mayors of London on design. He was also closely involved with numerous social causes and initiatives.","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74220472","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 : 2022-09-01DOI: 10.1017/S1359135522000501
Sebastián Aedo
In 1955 Charles and Ray Eames gathered more than three hundred photographs of their Case Study House #8 in the Pacific Palisades to produce the experimental film House: After Five Years of Living. The film is a visual exploration in which craft and found objects contrast with the mass-produced industrial structure of their house, but also a constant tension between the frantic acceleration of its images and moments of slow pace. Proceeding from a close reading of House: After Five Years of Living, this article analyses its film and editing technique to proposes how domesticity becomes a screen. This means, an ideological surface promoting the cultural, social, and economic changes of the Cold War period, while simultaneously screening out (obscuring) its anxieties, preoccupations, and fears in its mode of visual representation. In the film, the Case study House #8 exposes and covers, promotes and disguises, veiling some preoccupations and motivations while exhibiting an alternative reality.
{"title":"Screening House: film and material representations of the Cold War’s anxieties","authors":"Sebastián Aedo","doi":"10.1017/S1359135522000501","DOIUrl":"https://doi.org/10.1017/S1359135522000501","url":null,"abstract":"In 1955 Charles and Ray Eames gathered more than three hundred photographs of their Case Study House #8 in the Pacific Palisades to produce the experimental film House: After Five Years of Living. The film is a visual exploration in which craft and found objects contrast with the mass-produced industrial structure of their house, but also a constant tension between the frantic acceleration of its images and moments of slow pace. Proceeding from a close reading of House: After Five Years of Living, this article analyses its film and editing technique to proposes how domesticity becomes a screen. This means, an ideological surface promoting the cultural, social, and economic changes of the Cold War period, while simultaneously screening out (obscuring) its anxieties, preoccupations, and fears in its mode of visual representation. In the film, the Case study House #8 exposes and covers, promotes and disguises, veiling some preoccupations and motivations while exhibiting an alternative reality.","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77506424","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 : 2022-09-01DOI: 10.1017/s135913552200032x
Dorian Wiszniewski
This book is an extension of the ‘Land Architecture People’ exhibition first held in the Royal Danish Academy of Fine Arts School of Architecture, Copenhagen (2009), and then in the Ambika P3 Gallery, University of Westminster (2010). Ostensibly, this is a book of twelve unbuilt projects prepared between 2002 and 2015 by the office of Pierre d’Avoine. Yet, it also is far more than that. The projects are presented graphically through drawings and accompanied textually by transcriptions of interviews with a range of people connected to each project. The drawings are as you would expect if you have read Housey Housey: A Pattern Book of Ideal Homes: 1 an immaculate series of precise-line plans, sections, elevations, isometrics, axonometrics, and perspectives, sometimes collaged with photographs of context – and mostly seen from inside to out – which are absolutely without excess. These occasionally come supported by predominantly blackand-white photographs of models, all constructed in neutral materials focusing more on formal arrangements but which nonetheless give an overall sense of how the material qualities are intrinsically consistent to their disposition. Between text and drawings, not only do we see skilled architectural design conducted in exacting conditions, we also gain illuminating insight into a socially minded view of architecture with a subtle but vital critique of the cultural landscape of England. There is a modesty about each project. Even ‘Pleasure Holm for Birnbeck Island’ has reserve [1]. At first glance it seems quite unlike the eleven other projects, in that it is a visually striking project that ‘...a subtle but vital critique of the cultural landscape of England ...’
这本书是“土地建筑人”展览的延伸，该展览首先在哥本哈根的丹麦皇家美术学院建筑学院(2009年)举行，然后在威斯敏斯特大学的Ambika P3画廊(2010年)举行。表面上看，这是一本由Pierre d 'Avoine办公室在2002年至2015年间准备的12个未建成项目的书。然而，它也远不止于此。这些项目通过绘图以图形形式呈现，并附有对与每个项目相关的一系列人员的采访记录。如果你读过《Housey Housey: A Pattern Book of Ideal Homes》，你就会想到这些图纸:1是一系列完美无瑕的精确线条平面图、剖面图、立面图、等距图、轴测图和透视图，有时拼贴着背景照片——大部分是从内到外看的——绝对没有多余。这些偶尔会得到以黑白照片为主的模特的支持，这些照片都是用中性材料制作的，更多地关注于正式的安排，但尽管如此，它们还是给人一种总体上的感觉，即材料的质量是如何与她们的性格内在一致的。在文本和图纸之间，我们不仅看到了在严格条件下进行的熟练的建筑设计，我们还通过对英国文化景观的微妙但重要的批评，获得了对社会思想建筑观点的启发性见解。每个项目都有谦虚之处。即使是“Pleasure Holm for Birnbeck Island”也有保留[1]。乍一看，它似乎与其他11个项目很不一样，因为它是一个视觉上引人注目的项目……对英格兰文化景观的微妙而重要的批判……”
{"title":"Dorian Wiszniewski on News from England","authors":"Dorian Wiszniewski","doi":"10.1017/s135913552200032x","DOIUrl":"https://doi.org/10.1017/s135913552200032x","url":null,"abstract":"This book is an extension of the ‘Land Architecture People’ exhibition first held in the Royal Danish Academy of Fine Arts School of Architecture, Copenhagen (2009), and then in the Ambika P3 Gallery, University of Westminster (2010). Ostensibly, this is a book of twelve unbuilt projects prepared between 2002 and 2015 by the office of Pierre d’Avoine. Yet, it also is far more than that. The projects are presented graphically through drawings and accompanied textually by transcriptions of interviews with a range of people connected to each project. The drawings are as you would expect if you have read Housey Housey: A Pattern Book of Ideal Homes: 1 an immaculate series of precise-line plans, sections, elevations, isometrics, axonometrics, and perspectives, sometimes collaged with photographs of context – and mostly seen from inside to out – which are absolutely without excess. These occasionally come supported by predominantly blackand-white photographs of models, all constructed in neutral materials focusing more on formal arrangements but which nonetheless give an overall sense of how the material qualities are intrinsically consistent to their disposition. Between text and drawings, not only do we see skilled architectural design conducted in exacting conditions, we also gain illuminating insight into a socially minded view of architecture with a subtle but vital critique of the cultural landscape of England. There is a modesty about each project. Even ‘Pleasure Holm for Birnbeck Island’ has reserve [1]. At first glance it seems quite unlike the eleven other projects, in that it is a visually striking project that ‘...a subtle but vital critique of the cultural landscape of England ...’","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81362814","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 : 2022-09-01DOI: 10.1017/s1359135522000537
{"title":"ARQ volume 26 issue 3 Cover and Back matter","authors":"","doi":"10.1017/s1359135522000537","DOIUrl":"https://doi.org/10.1017/s1359135522000537","url":null,"abstract":"","PeriodicalId":43799,"journal":{"name":"arq-Architectural Research Quarterly","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87829114","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：