In the 1960s, when the inner-city motorway was introduced as a new urban infrastructure, major cities worldwide faced a severe shortage of urban space for installation. Yokohama was gifted, as it could utilise its disused canals, but faced many difficulties in changing its route and structure into undergrounding. In 1968, the Mayor of Yokohama invited urban planner Akira Tamura to set up the Planning and Coordination Office (PCO). Since the route and structure of the inner-city motorway in the central part of Yokohama had been authorised by the national ministry, a year of coordinative tasks led by the PCO seemed impossible, considering the highly centralised Japanese administrative system. The success of this case marked a paradigm shift in the initiatives led by local governments. The theme of this study is to clarify how the newly born agency tackled the task that evolved into the “coordinative mechanism” within the municipal administration.
{"title":"Local Government Coordination in 1960s Yokohama, Japan: The Case of the Inner-City Motorway Project","authors":"T. Taguchi","doi":"10.55939/a5045p6ah6","DOIUrl":"https://doi.org/10.55939/a5045p6ah6","url":null,"abstract":"In the 1960s, when the inner-city motorway was introduced as a new urban infrastructure, major cities worldwide faced a severe shortage of urban space for installation. Yokohama was gifted, as it could utilise its disused canals, but faced many difficulties in changing its route and structure into undergrounding. In 1968, the Mayor of Yokohama invited urban planner Akira Tamura to set up the Planning and Coordination Office (PCO). Since the route and structure of the inner-city motorway in the central part of Yokohama had been authorised by the national ministry, a year of coordinative tasks led by the PCO seemed impossible, considering the highly centralised Japanese administrative system. The success of this case marked a paradigm shift in the initiatives led by local governments. The theme of this study is to clarify how the newly born agency tackled the task that evolved into the “coordinative mechanism” within the municipal administration.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"05 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128868080","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}
The gradual per-capita decline in the size of the public service in Australia since the orthodoxy of economic rationalism became entrenched in the 1990s has impacted on the design of the built environment most obviously in the shift away from the in-house design and delivery of public works by government-employed architects. Yet with rising interest in design-led cities, a new generation of architects in state and local government are taking leadership roles in design governance, where public sector actors exert influence predominantly through informal means such as through design advisory, review and advocacy processes. These roles represent an important point at which architects can participate in the complex multi-disciplinary and multi-stakeholder delivery of projects and positively influence the quality of built environment design outcomes, for the public good. Yet this form of architectural work tends to be invisible and not well understood by the profession. Women at present have high visibility in such design leadership roles in Australia, with all State and Territory Government Architect positions and many City Architect positions currently held by women. This paper investigates women’s experience in public sector design leadership roles to better understand this work and how career paths involving the public sector have changed since earlier eras of government public works departments. Drawing on interviews, the paper explores aspects of women’s career experience including the specific skills and expertise utilised in design advisory roles, and the extent to which this form of work is recognised within the profession. Contemporary career narratives are analysed in relation to an historical survey of women architects in the public service and changing ideas about professional expertise. The paper focuses on exploring two themes: the ways in which public sector work is incorporated into portfolio careers in architecture, and the expertise involved in design leadership.
{"title":"Women and Design Leadership: A New Era of Architects in the Public Sector","authors":"S. Holden, Kirsty Volz","doi":"10.55939/a5024piu1x","DOIUrl":"https://doi.org/10.55939/a5024piu1x","url":null,"abstract":"The gradual per-capita decline in the size of the public service in Australia since the orthodoxy of economic rationalism became entrenched in the 1990s has impacted on the design of the built environment most obviously in the shift away from the in-house design and delivery of public works by government-employed architects. Yet with rising interest in design-led cities, a new generation of architects in state and local government are taking leadership roles in design governance, where public sector actors exert influence predominantly through informal means such as through design advisory, review and advocacy processes. These roles represent an important point at which architects can participate in the complex multi-disciplinary and multi-stakeholder delivery of projects and positively influence the quality of built environment design outcomes, for the public good. Yet this form of architectural work tends to be invisible and not well understood by the profession. Women at present have high visibility in such design leadership roles in Australia, with all State and Territory Government Architect positions and many City Architect positions currently held by women. This paper investigates women’s experience in public sector design leadership roles to better understand this work and how career paths involving the public sector have changed since earlier eras of government public works departments. Drawing on interviews, the paper explores aspects of women’s career experience including the specific skills and expertise utilised in design advisory roles, and the extent to which this form of work is recognised within the profession. Contemporary career narratives are analysed in relation to an historical survey of women architects in the public service and changing ideas about professional expertise. The paper focuses on exploring two themes: the ways in which public sector work is incorporated into portfolio careers in architecture, and the expertise involved in design leadership.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130088154","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}
The Centenary Estates project was announced in 1959 to mark the 100th anniversary of the proclamation of the State of Queensland. It was an early private sector development; a master-planned community adjacent to the Brisbane River (Maiwar) situated between Brisbane (Meeanjin) and Ipswich (Tulmur). An industrial garden city proposal, the Industrial Garden City Darra had been developed for the same site in 1916, but never realised. The development was overseen by the LJ Hooker Investment Corporation. Also known as the Centenary Project, it organised residential, commercial and industrial areas on 3500 acres of land, allocated to six “self-sufficient” suburbs with 9 kilometres of river frontage and two adjacent industrial estates. A total of 10,261 residential lots were surveyed, anticipating 35,000 residents, with 20% of the land set aside for commercial and industrial purposes. It included the promise of an Olympic-size swimming pool, golf course and a new bridge across the river with supporting infrastructure financed by the developers, as part of a new Centenary Highway connection from the city to Ipswich through the western suburbs. The paper will give an account of the prior history of the site including the proposed Industrial Garden City at Darra, and situate Centenary Estates within Brisbane’s post-war expansion west, the shift from public to private development, new methods of promotion, lifestyle aspirations, the transfer of knowledge between government, corporations, planners, builders and architects, and a cautionary tale for the consequences of building on flood-prone farmland adjacent to the river.
{"title":"Centenary Estates: Private Development and Brisbane’s Post-War Expansion West","authors":"A. Wilson","doi":"10.55939/a5049pacf9","DOIUrl":"https://doi.org/10.55939/a5049pacf9","url":null,"abstract":"The Centenary Estates project was announced in 1959 to mark the 100th anniversary of the proclamation of the State of Queensland. It was an early private sector development; a master-planned community adjacent to the Brisbane River (Maiwar) situated between Brisbane (Meeanjin) and Ipswich (Tulmur). An industrial garden city proposal, the Industrial Garden City Darra had been developed for the same site in 1916, but never realised.\u0000The development was overseen by the LJ Hooker Investment Corporation. Also known as the Centenary Project, it organised residential, commercial and industrial areas on 3500 acres of land, allocated to six “self-sufficient” suburbs with 9 kilometres of river frontage and two adjacent industrial estates. A total of 10,261 residential lots were surveyed, anticipating 35,000 residents, with 20% of the land set aside for commercial and industrial purposes. It included the promise of an Olympic-size swimming pool, golf course and a new bridge across the river with supporting infrastructure financed by the developers, as part of a new Centenary Highway connection from the city to Ipswich through the western suburbs.\u0000The paper will give an account of the prior history of the site including the proposed Industrial Garden City at Darra, and situate Centenary Estates within Brisbane’s post-war expansion west, the shift from public to private development, new methods of promotion, lifestyle aspirations, the transfer of knowledge between government, corporations, planners, builders and architects, and a cautionary tale for the consequences of building on flood-prone farmland adjacent to the river.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121867563","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}
George Wēpiha Melbourne was one of the last Tūhoe (tribal iwi) whare tūpuna (ancestral house) architects. His works included: Kura Mihi Rangi, a wharepuni at Te Rewarewa Marae in Rūātoki, and Hiona (also known as Te Whare Kawana) at Maungapohatu, one of the most recognisable buildings in ‘Māori’ architecture. At present, there is no comprehensive analysis of a hapū architecture. George Wēpiha Melbourne is of Te Māhurehure hapū, making his work a significant starting point in the study of architecture rooted in a hapū-specific context. To explore the events that likely influenced George Melbourne’s works, this paper investigates a Tūhoe and Te Māhurehure history through the socio-relational and geographic lens of a selected George Wēpiha Melbourne whakapapa line. From this position of shared identity, elements of a hapū-focused architecture will be stipulated, thereby allowing for the works of George Wēpiha Melbourne to be studied and presented accordingly in this paper.
{"title":"Matemateāone – A Journey Beyond ‘Māori’ Architecture: Exploring a Te Māhurehure (Hapū) Approach to Architecture through Whakapapa","authors":"Amber Anahera Ruckes","doi":"10.55939/a5040pnj7u","DOIUrl":"https://doi.org/10.55939/a5040pnj7u","url":null,"abstract":"George Wēpiha Melbourne was one of the last Tūhoe (tribal iwi) whare tūpuna (ancestral house) architects. His works included: Kura Mihi Rangi, a wharepuni at Te Rewarewa Marae in Rūātoki, and Hiona (also known as Te Whare Kawana) at Maungapohatu, one of the most recognisable buildings in ‘Māori’ architecture.\u0000At present, there is no comprehensive analysis of a hapū architecture. George Wēpiha Melbourne is of Te Māhurehure hapū, making his work a significant starting point in the study of architecture rooted in a hapū-specific context.\u0000To explore the events that likely influenced George Melbourne’s works, this paper investigates a Tūhoe and Te Māhurehure history through the socio-relational and geographic lens of a selected George Wēpiha Melbourne whakapapa line. From this position of shared identity, elements of a hapū-focused architecture will be stipulated, thereby allowing for the works of George Wēpiha Melbourne to be studied and presented accordingly in this paper.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125931828","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}
The 1970s in Melbourne was a period of political, social and cultural flux. In the midst of this period of change, three figures loom large: Andrew McCutcheon (1931-2017), Evan Walker (1935-2015) and David Yencken (1931-2019). Each had strong allegiances to architecture, as well as commitments to politics and diverse social causes, including heritage, planning and religion. This paper argues that these three are representative of how a cross-disciplinary understanding of architecture can nurture community values and embed these within the built fabric through heritage. The paper draws on McCutcheon’s, Walker’s and Yencken’s own recollections of this time and uses their memories and reflections to develop a narrative-based understanding of social concerns to broaden architectural conceptions. It examines overlaps between the figures themselves, their work and connection to design, politics and society, mapping the confluences of understandings and outcomes that emerged from the intersections of this knowledge. The research highlights the importance of reading architecture as a discipline connected to, and crossing, both time and place. The fundamental raison d’etre of architecture was explored and questioned by each of the three protagonists – architecture is not simply designing bespoke buildings, but rather contributing to society (through better housing, protecting heritage, urban design), responding to this place (country, landscape and climate), understanding who we are (identity) and thus influencing policy and legislation. The paper teases out how new understandings and narratives of community values emerged through their cross-disciplinary interests and works.
{"title":"Andrew McCutcheon, Evan Walker and David Yencken: Tracing Cross-Disciplinary Understandings in Architecture in 1970s Melbourne","authors":"E. Telford, Akari Nakai Kidd, U. De Jong","doi":"10.55939/a5047pn4af","DOIUrl":"https://doi.org/10.55939/a5047pn4af","url":null,"abstract":"The 1970s in Melbourne was a period of political, social and cultural flux. In the midst of this period of change, three figures loom large: Andrew McCutcheon (1931-2017), Evan Walker (1935-2015) and David Yencken (1931-2019). Each had strong allegiances to architecture, as well as commitments to politics and diverse social causes, including heritage, planning and religion. This paper argues that these three are representative of how a cross-disciplinary understanding of architecture can nurture community values and embed these within the built fabric through heritage.\u0000The paper draws on McCutcheon’s, Walker’s and Yencken’s own recollections of this time and uses their memories and reflections to develop a narrative-based understanding of social concerns to broaden architectural conceptions. It examines overlaps between the figures themselves, their work and connection to design, politics and society, mapping the confluences of understandings and outcomes that emerged from the intersections of this knowledge.\u0000The research highlights the importance of reading architecture as a discipline connected to, and crossing, both time and place. The fundamental raison d’etre of architecture was explored and questioned by each of the three protagonists – architecture is not simply designing bespoke buildings, but rather contributing to society (through better housing, protecting heritage, urban design), responding to this place (country, landscape and climate), understanding who we are (identity) and thus influencing policy and legislation. The paper teases out how new understandings and narratives of community values emerged through their cross-disciplinary interests and works.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116257681","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}
Architecture and planning have historically struggled to find agreement on defining urban design and a relevant body of theory. In the 1950s, Dean Josep Lluís Sert first used the term ‘urban design’ for proposed new programmes of study at the Harvard Graduate School of Design (GSD). However, facing opposition to the move, urban design was introduced as extensions to established teaching programmes. At the same time, Dean George Holmes Perkins at the University of Pennsylvania (Penn) took a different approach, embedding urban design into a joint Master’s programme. Louis Kahn and David Crane were appointed to lead the architecture and city planning studios respectively. Despite a relatively short tenure at Penn from 1958 to 1964 and publishing relatively little, it is argued that David Crane significantly influenced thinking about urban design at a time when Modernism was failing. Crucial was the revalidating of public spaces and amenities as a key to urban place making and social identity. Importantly he argued that the role of the urban designer was establishing the framework to guide future development: what he called a ‘capital web’. The paper traces Crane’s core ideas and how they intersected with other urban thinkers at that time. Also examined is the way Crane’s teaching shaped the career development of two graduates, Roelof Uytenbogaardt and Denise Scott Brown, and how this propelled their subsequent practices. The conclusions argue that Crane’s ‘capital web’ remains a potent conceptualisation finding new relevancy in the twenty-first century.
{"title":"David Crane’s ‘Capital Web’: Crossings Between Architecture, Urban Design and Planning as Disciplines and Practices from the 1950s","authors":"E. Haarhoff","doi":"10.55939/a5021pjvlm","DOIUrl":"https://doi.org/10.55939/a5021pjvlm","url":null,"abstract":"Architecture and planning have historically struggled to find agreement on defining urban design and a relevant body of theory. In the 1950s, Dean Josep Lluís Sert first used the term ‘urban design’ for proposed new programmes of study at the Harvard Graduate School of Design (GSD). However, facing opposition to the move, urban design was introduced as extensions to established teaching programmes. At the same time, Dean George Holmes Perkins at the University of Pennsylvania (Penn) took a different approach, embedding urban design into a joint Master’s programme. Louis Kahn and David Crane were appointed to lead the architecture and city planning studios respectively. Despite a relatively short tenure at Penn from 1958 to 1964 and publishing relatively little, it is argued that David Crane significantly influenced thinking about urban design at a time when Modernism was failing. Crucial was the revalidating of public spaces and amenities as a key to urban place making and social identity. Importantly he argued that the role of the urban designer was establishing the framework to guide future development: what he called a ‘capital web’. The paper traces Crane’s core ideas and how they intersected with other urban thinkers at that time. Also examined is the way Crane’s teaching shaped the career development of two graduates, Roelof Uytenbogaardt and Denise Scott Brown, and how this propelled their subsequent practices. The conclusions argue that Crane’s ‘capital web’ remains a potent conceptualisation finding new relevancy in the twenty-first century.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125547072","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}
The architecture/town planning of the Dutch modernist Willem Marinus Dudok (1884-1974) is a significant example of the crossover between municipal planning and architecture. Dudok’s buildings, particularly those at Hilversum, are widely acknowledged and recognisable as design sources drawn upon by Australian modernists in the period 1925 to 1955. He planned Hilversum as a garden city in 1918 and it was visited by many Australian architects during this study period. Dudok initially trained as an engineer. His career, combining architecture and town planning, presented the ideal modernist project in practice. Hilversum was one of the key locations in Europe after World War I, where modern town planning and architecture worked in unity. Architecture, although often collaborative within a practice, could also be individualistic and Dudok’s practice in many ways exemplified this approach. Town planning required the coordination of professionals. At Hilversum, Dudok achieved this unity, with his well-planned municipal areas and modern buildings successfully integrated into them. This was within the context of contemporary Dutch town planning and housing laws, post World War I. This paper presents Dudok’s work, emphasising the crossover and integration of architecture and town planning. It examines the significance or not, of this crossover between these disciplines in the dissemination of his work by Australian architects and examines specifically whether Dudok’s town planning practices were part of the dissemination of his work. It concludes that for those Australian architects who experienced Hilversum first-hand, Dudok’s buildings were perceived as integrated into the town plan, particularly their context and the essentialness of the landscaping. Furthermore, Dudok had a commitment to the social wellbeing of the community through his planning with schools as focal points. Newcastle Technical College, New South Wales, is an exemplar of this in Australia.
{"title":"W. M. Dudok and Hilversum: Architect and Municipal Planner; Dissemination of this Interconnection amongst Australian Architects, 1925-1955","authors":"Carol Hardwick","doi":"10.55939/a5022ptgt0","DOIUrl":"https://doi.org/10.55939/a5022ptgt0","url":null,"abstract":"The architecture/town planning of the Dutch modernist Willem Marinus Dudok (1884-1974) is a significant example of the crossover between municipal planning and architecture. Dudok’s buildings, particularly those at Hilversum, are widely acknowledged and recognisable as design sources drawn upon by Australian modernists in the period 1925 to 1955. He planned Hilversum as a garden city in 1918 and it was visited by many Australian architects during this study period.\u0000Dudok initially trained as an engineer. His career, combining architecture and town planning, presented the ideal modernist project in practice. Hilversum was one of the key locations in Europe after World War I, where modern town planning and architecture worked in unity.\u0000Architecture, although often collaborative within a practice, could also be individualistic and Dudok’s practice in many ways exemplified this approach. Town planning required the coordination of professionals. At Hilversum, Dudok achieved this unity, with his well-planned municipal areas and modern buildings successfully integrated into them. This was within the context of contemporary Dutch town planning and housing laws, post World War I.\u0000This paper presents Dudok’s work, emphasising the crossover and integration of architecture and town planning. It examines the significance or not, of this crossover between these disciplines in the dissemination of his work by Australian architects and examines specifically whether Dudok’s town planning practices were part of the dissemination of his work. It concludes that for those Australian architects who experienced Hilversum first-hand, Dudok’s buildings were perceived as integrated into the town plan, particularly their context and the essentialness of the landscaping.\u0000Furthermore, Dudok had a commitment to the social wellbeing of the community through his planning with schools as focal points. Newcastle Technical College, New South Wales, is an exemplar of this in Australia.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115842187","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}
In 1971, Mohammad Reza Pahlavi, the former Shah of Iran, invited the most then-influential individuals of the world to Iran to commemorate the 2,500-year Anniversary of the Founding of the Persian Empire by Cyrus the Great (The Imperial Celebration). To accommodate the guests, Iran set up a city of prefabricated apartments by Persepolis that looked like tents, hence Persepolis Tent City. In the aftermath of the Imperial Celebration, the government proposed or received six different plans to reuse the Tent City. Such attempts were mostly to make the site profitable, hence responding to criticisms of its extravagance. The primary stakeholders in the conception and realisation of these plans were NASCO, an architectural and urban planning consultancy firm; Homa, the National Airline of Iran that owned the Tent City; and the Planning and Budget Organisation, a governmental body that planned and supervised the public budget. There was also a Shah whose orders had to be accommodated. The plans, however, could not bring reconciliation between active stakeholders, leading to their rejection or abandonment. As a result, the Tent City slowly deteriorated to the degree that no more than its steel structures exist today. This paper contributes to a better understanding of the relations between nationalism, heritage conservation, institutional architecture and political disputes manifested in Persepolis Tent City. The paper also offers an account of a remarkable architectural intervention, the largest-ever intervention in the first-level buffer zone of the 2500-year-old site, now a UNESCO World Heritage site, that either because of the content or the (mis)reading of the messages it carried, has remained undervalued. To pursue these objectives, the research draws on previously unexamined archival documents retrieved from the National Archive of Iran and print media published in the 1970s.
{"title":"Heritage Conservation versus Urban Development and Politics: Persepolis Tent City in the Aftermath of the Imperial Celebration, 1971-1979","authors":"M. Taheri","doi":"10.55939/a5046ptsmg","DOIUrl":"https://doi.org/10.55939/a5046ptsmg","url":null,"abstract":"In 1971, Mohammad Reza Pahlavi, the former Shah of Iran, invited the most then-influential individuals of the world to Iran to commemorate the 2,500-year Anniversary of the Founding of the Persian Empire by Cyrus the Great (The Imperial Celebration). To accommodate the guests, Iran set up a city of prefabricated apartments by Persepolis that looked like tents, hence Persepolis Tent City. In the aftermath of the Imperial Celebration, the government proposed or received six different plans to reuse the Tent City. Such attempts were mostly to make the site profitable, hence responding to criticisms of its extravagance. The primary stakeholders in the conception and realisation of these plans were NASCO, an architectural and urban planning consultancy firm; Homa, the National Airline of Iran that owned the Tent City; and the Planning and Budget Organisation, a governmental body that planned and supervised the public budget. There was also a Shah whose orders had to be accommodated. The plans, however, could not bring reconciliation between active stakeholders, leading to their rejection or abandonment. As a result, the Tent City slowly deteriorated to the degree that no more than its steel structures exist today.\u0000This paper contributes to a better understanding of the relations between nationalism, heritage conservation, institutional architecture and political disputes manifested in Persepolis Tent City. The paper also offers an account of a remarkable architectural intervention, the largest-ever intervention in the first-level buffer zone of the 2500-year-old site, now a UNESCO World Heritage site, that either because of the content or the (mis)reading of the messages it carried, has remained undervalued. To pursue these objectives, the research draws on previously unexamined archival documents retrieved from the National Archive of Iran and print media published in the 1970s.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122535589","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}
One of the threads linking together the early twentieth-century urban reform movements of city beautifying, garden city/suburb and town planning is the use of lantern slides and their ubiquitous projection device, the magic lantern. Along with newspapers, pamphlets and posters, lantern slides were an essential tool across each of these movements, presenting and framing the objectives promoted by their enthusiastic leaders and enabling the broad dissemination of their ideas via images projected to audiences in public lectures. Yet our understanding of how lantern media operated in these contexts has been restricted by the lack of extant lantern slide collections and a long-standing view of the medium’s redundancy compared to newer forms of projection media. Histories of how these campaigns were promoted in New Zealand are dominated by personalities such as Charles C. Reade, William R. Davidge and Samuel Hurst Seager, who are known to have frequently employed lantern slides for public lectures. However, the lantern lecture was utilised by a number of other figures and groups with common interests in these interrelated attempts to improve New Zealand’s urban landscape. Lantern lectures engendered, and were evidence of, the intersections of ideas, meanings and relationships between audiences, politicians, architects, planners and other advocates from beyond these professions, such as Reade, who held sway over the Australasian town planning movement for many years. Looking at three lantern lectures between 1913 and 1923, this paper traces the effectiveness of the magic lantern medium and its traditions in facilitating the translation and adaptation of progressive ideas in New Zealand’s urban landscape.
{"title":"“The Moral of these Pictures:” New Zealand’s Early Urban Reform Movements in Lantern Lectures","authors":"Laura Dunham","doi":"10.55939/a5018pv8ke","DOIUrl":"https://doi.org/10.55939/a5018pv8ke","url":null,"abstract":"One of the threads linking together the early twentieth-century urban reform movements of city beautifying, garden city/suburb and town planning is the use of lantern slides and their ubiquitous projection device, the magic lantern. Along with newspapers, pamphlets and posters, lantern slides were an essential tool across each of these movements, presenting and framing the objectives promoted by their enthusiastic leaders and enabling the broad dissemination of their ideas via images projected to audiences in public lectures. Yet our understanding of how lantern media operated in these contexts has been restricted by the lack of extant lantern slide collections and a long-standing view of the medium’s redundancy compared to newer forms of projection media. Histories of how these campaigns were promoted in New Zealand are dominated by personalities such as Charles C. Reade, William R. Davidge and Samuel Hurst Seager, who are known to have frequently employed lantern slides for public lectures. However, the lantern lecture was utilised by a number of other figures and groups with common interests in these interrelated attempts to improve New Zealand’s urban landscape. Lantern lectures engendered, and were evidence of, the intersections of ideas, meanings and relationships between audiences, politicians, architects, planners and other advocates from beyond these professions, such as Reade, who held sway over the Australasian town planning movement for many years. Looking at three lantern lectures between 1913 and 1923, this paper traces the effectiveness of the magic lantern medium and its traditions in facilitating the translation and adaptation of progressive ideas in New Zealand’s urban landscape.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116993998","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}
The Burra Charter: the Australia ICOMOS Charter for Places of Cultural Significance has evolved with a broadening of definitions, scope and acknowledgement of multiple values since first adopted in 1979. Accepted normative cultural heritage practices have been called into question in recent years, especially in places where settler colonial settlement occurred. These advances have unsettled previously accepted relationships between place, heritage fabric and community. This paper re-investigates the former Burns, Philp & Co Ltd Offices and Warehouse (1895) in the North Queensland regional centre of Townsville. It was identified in 1975 as a landmark and is at an important intersection of heritage buildings. The change from a hastily erected frontier settlement to a town confident in its future and place in the region is illustrated in this building. The research found that the narratives underlying the cultural significance were incomplete and disconnected. This place was intrinsically linked with the foundation of Townsville and its early development as a port. Hence, it also symbolises the crossing of settler colonial and First Nations peoples’ cultures. It was also evident that the relationship between ongoing commercial needs and the cultural significance of the place were unsettled due to the selective consciousness evident in the narratives. Re-crossing these narratives within the context of contemporary practice provides a framework to inform ongoing change. This is essential for a commercial use that is required to adapt to commercial reality while also responding to heritage constraints. The focus of the paper is then the underlying narratives rather than their possible interpretation. This study is timely in the case of the Burns Philp Building as new owners contemplate further change after a period of decline and Townsville City Council is rapidly constructing the East End boardwalk across the site.
《布拉宪章》:自1979年首次通过以来，国际古迹遗址理事会关于文化重要地点的澳大利亚宪章随着定义、范围和对多重价值的承认而不断发展。近年来，公认的规范文化遗产做法受到了质疑，特别是在定居者殖民定居的地方。这些进步动摇了以前被接受的地点、遗产结构和社区之间的关系。本文重新调查了汤斯维尔北昆士兰区域中心的前Burns, Philp & Co Ltd办公室和仓库(1895年)。它于1975年被确定为地标，位于遗产建筑的重要交叉点。从一个匆忙建立的边境定居点到一个对自己的未来和在该地区的地位充满信心的城镇的变化，在这座建筑中得到了体现。研究发现，隐含文化意义的叙事是不完整和不连贯的。这个地方与汤斯维尔的基础及其作为港口的早期发展有着内在的联系。因此，它也象征着定居者、殖民地和第一民族文化的交汇。同样明显的是，由于叙事中明显的选择性意识，持续的商业需求和这个地方的文化意义之间的关系没有得到解决。在当代实践的背景下重新交叉这些叙述为正在进行的变化提供了一个框架。这对于商业用途来说是必不可少的，因为它需要适应商业现实，同时也要回应遗产的限制。论文的重点是潜在的叙述，而不是他们可能的解释。对于Burns Philp大楼来说，这项研究是及时的，因为在经历了一段时间的衰落之后，新业主正在考虑进一步的改变，汤斯维尔市议会正在迅速建设横跨该场地的东区木板路。
{"title":"Selective Consciousness: Re-crossing Heritage Narratives","authors":"John Loneragan","doi":"10.55939/a5030p5x75","DOIUrl":"https://doi.org/10.55939/a5030p5x75","url":null,"abstract":"The Burra Charter: the Australia ICOMOS Charter for Places of Cultural Significance has evolved with a broadening of definitions, scope and acknowledgement of multiple values since first adopted in 1979. Accepted normative cultural heritage practices have been called into question in recent years, especially in places where settler colonial settlement occurred. These advances have unsettled previously accepted relationships between place, heritage fabric and community. This paper re-investigates the former Burns, Philp & Co Ltd Offices and Warehouse (1895) in the North Queensland regional centre of Townsville. It was identified in 1975 as a landmark and is at an important intersection of heritage buildings. The change from a hastily erected frontier settlement to a town confident in its future and place in the region is illustrated in this building.\u0000The research found that the narratives underlying the cultural significance were incomplete and disconnected. This place was intrinsically linked with the foundation of Townsville and its early development as a port. Hence, it also symbolises the crossing of settler colonial and First Nations peoples’ cultures. It was also evident that the relationship between ongoing commercial needs and the cultural significance of the place were unsettled due to the selective consciousness evident in the narratives. Re-crossing these narratives within the context of contemporary practice provides a framework to inform ongoing change. This is essential for a commercial use that is required to adapt to commercial reality while also responding to heritage constraints. The focus of the paper is then the underlying narratives rather than their possible interpretation. This study is timely in the case of the Burns Philp Building as new owners contemplate further change after a period of decline and Townsville City Council is rapidly constructing the East End boardwalk across the site.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127493352","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}
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