Architectural history used to be part of art history, but has been gradually distanced from the latter as architecture develops as an independent modern discipline. Despite debates on architectural historiography in recent decades, architecture as a unique type of historically situated aesthetic objects and design products has not been adequately addressed. To further an independence from art history, and to re-center architecture itself in historical analysis, this article highlights three essential natures of architecture which differentiate it from other types of aesthetic objects (such as painting and sculpture) and design products (such as cars and furniture), while asserting its situated materiality: architecture orders bodily activities and conditions human existence; it necessitates the integration of techne, technology, materials, and labor in construction; and it is a collective expressive medium which is shaped by and contributes to the interaction between different social forces. Based on the above propositions, this article provides an upgraded version of the Vitruvian Triad, with the existential replacing utilitatis (utility), the constructive replacing firmitatis (stability), and the interactive replacing venustatis (beauty).
{"title":"A Conceptual Framework for Architectural Historiography","authors":"D. Lu","doi":"10.55939/a4005p6e3c","DOIUrl":"https://doi.org/10.55939/a4005p6e3c","url":null,"abstract":"Architectural history used to be part of art history, but has been gradually distanced from the latter as architecture develops as an independent modern discipline. Despite debates on architectural historiography in recent decades, architecture as a unique type of historically situated aesthetic objects and design products has not been adequately addressed. To further an independence from art history, and to re-center architecture itself in historical analysis, this article highlights three essential natures of architecture which differentiate it from other types of aesthetic objects (such as painting and sculpture) and design products (such as cars and furniture), while asserting its situated materiality: architecture orders bodily activities and conditions human existence; it necessitates the integration of techne, technology, materials, and labor in construction; and it is a collective expressive medium which is shaped by and contributes to the interaction between different social forces. Based on the above propositions, this article provides an upgraded version of the Vitruvian Triad, with the existential replacing utilitatis (utility), the constructive replacing firmitatis (stability), and the interactive replacing venustatis (beauty). \u0000","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129119631","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}
From the 1970s social and political changes in Australia and the burgeoning feminist movement were challenging established power relationships and hierarchies. This paper explores how in the 1980s groups of women architects actively took positions that were outside the established professional mainstream. A 1982 seminar at the University of Queensland galvanised women in Brisbane to form the Association of Women Architects, Town Planners and Landscape Architects. Formally founded the association was multi-disciplinary and not affiliated with the established bodies. Its aims included promoting women and working to reform the practice of these professions. While predominately made up of architects, the group never became part of the Royal Australian Institutes of Architects, it did inject itself into its activities, spectacularly sponsoring the Indian architect Revathi Kamath to speak at the 1984 RAIA. For five years the group was active organising talks, speakers, a newsletter and participating in Architecture Week. In 1984 an exhibition ‘Profile: Women in Architecture’ featured the work of 40 past and present women architects and students, including a profile of Queensland’s then oldest practitioner Beatrice Hutton. Sydney architect Eve Laron, the convenor of Constructive Women in Sydney opened the exhibition. There was an active interchange between Women in Architecture in Melbourne, Constructive Women, and the Queensland group, with architects such as Ann Keddie, Suzanne Dance and Barbara van den Broek speaking in Brisbane. While the focus of the group centred around women’s issues such as traditional prejudice, conflicting commitments and retraining, its architectural interests were not those of conventional practice. It explored and promoted the design of cities and buildings that were sensitive to users including women and children, design using natural materials and sustainability. While the group only existed for a short period, it advanced positions and perspectives that were outside the mainstream of architectural discourse and practice. Nearly 40 years on a new generation of women is leading the debate into the structural inequities in the architectural profession which are very similar to those tackled by women architects in the 1980s.
从20世纪70年代开始，澳大利亚的社会和政治变革以及蓬勃发展的女权运动正在挑战既定的权力关系和等级制度。本文探讨了在20世纪80年代，女性建筑师群体如何积极地在既定的专业主流之外占据一席之地。1982年昆士兰大学的一次研讨会激励了布里斯班的女性成立了女性建筑师、城市规划师和景观设计师协会。正式成立的协会是多学科的，不隶属于已成立的机构。其目标包括促进妇女和努力改革这些专业的做法。虽然主要由建筑师组成，但该组织从未成为澳大利亚皇家建筑师协会的一部分，但它确实将自己融入了该协会的活动中，引人注目地赞助了印度建筑师Revathi Kamath在1984年的RAIA上发言。五年来，该团体积极组织讲座，演讲，时事通讯和参与建筑周。1984年，一个名为“简介:建筑中的女性”的展览展示了40位过去和现在的女性建筑师和学生的作品，其中包括昆士兰当时最年长的从业者Beatrice Hutton的简介。悉尼建筑师Eve Laron，悉尼建设性女性的召集人，为展览揭幕。墨尔本的建筑女性、建设性女性和昆士兰团体之间进行了积极的交流，Ann Keddie、Suzanne Dance和Barbara van den Broek等建筑师在布里斯班发言。虽然该团体的焦点集中在女性问题上，如传统偏见、相互冲突的承诺和再培训，但其建筑兴趣与传统实践不同。它探索和促进对包括妇女和儿童在内的用户敏感的城市和建筑设计，使用天然材料和可持续性的设计。虽然这个团体只存在了很短的一段时间，但它提出了在建筑话语和实践的主流之外的立场和观点。近40年来，新一代女性正在引领关于建筑行业结构不平等的辩论，这与20世纪80年代女性建筑师所解决的问题非常相似。
{"title":"Yes, You Can Be an Architect and a Woman!’ Women in Architecture: Queensland 1982-1989","authors":"F. Gardiner","doi":"10.55939/a4001phps8","DOIUrl":"https://doi.org/10.55939/a4001phps8","url":null,"abstract":"From the 1970s social and political changes in Australia and the burgeoning feminist movement were challenging established power relationships and hierarchies. This paper explores how in the 1980s groups of women architects actively took positions that were outside the established professional mainstream. A 1982 seminar at the University of Queensland galvanised women in Brisbane to form the Association of Women Architects, Town Planners and Landscape Architects. Formally founded the association was multi-disciplinary and not affiliated with the established bodies. Its aims included promoting women and working to reform the practice of these professions. While predominately made up of architects, the group never became part of the Royal Australian Institutes of Architects, it did inject itself into its activities, spectacularly sponsoring the Indian architect Revathi Kamath to speak at the 1984 RAIA. For five years the group was active organising talks, speakers, a newsletter and participating in Architecture Week. In 1984 an exhibition ‘Profile: Women in Architecture’ featured the work of 40 past and present women architects and students, including a profile of Queensland’s then oldest practitioner Beatrice Hutton. Sydney architect Eve Laron, the convenor of Constructive Women in Sydney opened the exhibition. There was an active interchange between Women in Architecture in Melbourne, Constructive Women, and the Queensland group, with architects such as Ann Keddie, Suzanne Dance and Barbara van den Broek speaking in Brisbane. While the focus of the group centred around women’s issues such as traditional prejudice, conflicting commitments and retraining, its architectural interests were not those of conventional practice. It explored and promoted the design of cities and buildings that were sensitive to users including women and children, design using natural materials and sustainability. While the group only existed for a short period, it advanced positions and perspectives that were outside the mainstream of architectural discourse and practice. Nearly 40 years on a new generation of women is leading the debate into the structural inequities in the architectural profession which are very similar to those tackled by women architects in the 1980s.","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130381282","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}
This paper investigates one aspect in the work of architect, educator and theorist Peter Eisenman (b 1932) through the filter of select writings from the mid 1980s. It does this by examining two texts published in 1984, a period characterised as one of rupture if not emphatically in crisis. The writings considered are “The Futility of Objects: Decomposition and the Processes of Difference” and “The End of the Classical: the End of the Beginning, the End of the End”. Secondary authors referenced include Robin Evans, Kenneth Frampton and Raphael Moneo. The paper conjectures that certain approaches such as Eisenman’s to materials and phenomena from architecture’s past can open new conditions of possibility for architecture today. A number of questions are asked: By what means and in what forms are Eisenman’s thinking about architecture in a moment of crisis revealed in these essays? Which architectural qualities and form generation devices does Eisenman discern in the past? How might the processes for interrogating architecture’s past as displayed in the two essays inform an approach to architecture today? The paper adds to scholarship on Eisenman, examining a little studied facet of his work in a period marked by swerves in his thinking. In a conference that seeks to identify a spectrum of disciplinary positions, the paper contributes to discussions around conference thematic sub-stream Design Practice and Education in its consideration of one stance vis-à-vis architecture’s past.
{"title":"Untimely Meditations: Decomposition and Timelessness in Select Writings of Peter Eisenman","authors":"Michael Jasper","doi":"10.55939/a4004pmiov","DOIUrl":"https://doi.org/10.55939/a4004pmiov","url":null,"abstract":"This paper investigates one aspect in the work of architect, educator and theorist Peter Eisenman (b 1932) through the filter of select writings from the mid 1980s. It does this by examining two texts published in 1984, a period characterised as one of rupture if not emphatically in crisis. The writings considered are “The Futility of Objects: Decomposition and the Processes of Difference” and “The End of the Classical: the End of the Beginning, the End of the End”. Secondary authors referenced include Robin Evans, Kenneth Frampton and Raphael Moneo. The paper conjectures that certain approaches such as Eisenman’s to materials and phenomena from architecture’s past can open new conditions of possibility for architecture today. A number of questions are asked: By what means and in what forms are Eisenman’s thinking about architecture in a moment of crisis revealed in these essays? Which architectural qualities and form generation devices does Eisenman discern in the past? How might the processes for interrogating architecture’s past as displayed in the two essays inform an approach to architecture today? The paper adds to scholarship on Eisenman, examining a little studied facet of his work in a period marked by swerves in his thinking. In a conference that seeks to identify a spectrum of disciplinary positions, the paper contributes to discussions around conference thematic sub-stream Design Practice and Education in its consideration of one stance vis-à-vis architecture’s past.\u0000","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115455263","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 Greg Burgess Archive (GBA) is perhaps the most complete, and arguably the most valuable architectural practice archive in Australia. However, its physical size presents a problem to both visibility, and longevity, and plans are in place to digitise the collection. While in storage at Avington, Victoria, an archival team – including Burgess himself – have begun repairing the 447 models, scanning the hundreds of tubes of drawings, and extracting data from countless obsolete media. Yet how reasonable is it to assume the efficacy of a program of digitisation? What are the implications for an objective architectural historiography if the process fails? Precipitated by difficulties in accurately digitising Burgess’ intricate physical models, this piece explores both questions. Firstly, the digitisation process for the GBA acts as a case study. Then, the technical limitations encountered are placed within a wider context of archival concerns in today’s diverse, digital age. These archival concerns are recognised in the eliding of ephemeral archival material – bodies, experiences, spoken histories – all of which may elude Western archival frameworks. What is illustrated here is that the same underrepresentation may extend into digitised collections, and that what is omitted is precisely the contents of the GBA – intricate, tectonic objects which do not conform to the idiosyncrasies of the technology at hand. The subsequent discussion then proceeds to advance, and explicate, the notion of the third object. Curation, then, is surrendered to the archival process itself, and the agency to reify our material history is at risk of being left to the machines, and their preference for certain types of ethnocultural artifact. Considering this, alternative strategies are presented for both the GBA and institutions at large, yet archivists and historians must be conscious of these limitations, or risk the failings of traditional, institutional archival systems spreading throughout a growing digital landscape.
{"title":"A Selective Digital History: Limitations within Digitisation Practices and their Implications","authors":"A. Grant, P. Raisbeck","doi":"10.55939/a4013phyct","DOIUrl":"https://doi.org/10.55939/a4013phyct","url":null,"abstract":"The Greg Burgess Archive (GBA) is perhaps the most complete, and arguably the most valuable architectural practice archive in Australia. However, its physical size presents a problem to both visibility, and longevity, and plans are in place to digitise the collection. While in storage at Avington, Victoria, an archival team – including Burgess himself – have begun repairing the 447 models, scanning the hundreds of tubes of drawings, and extracting data from countless obsolete media. Yet how reasonable is it to assume the efficacy of a program of digitisation? What are the implications for an objective architectural historiography if the process fails? Precipitated by difficulties in accurately digitising Burgess’ intricate physical models, this piece explores both questions. \u0000\u0000 Firstly, the digitisation process for the GBA acts as a case study. Then, the technical limitations encountered are placed within a wider context of archival concerns in today’s diverse, digital age. These archival concerns are recognised in the eliding of ephemeral archival material – bodies, experiences, spoken histories – all of which may elude Western archival frameworks. What is illustrated here is that the same underrepresentation may extend into digitised collections, and that what is omitted is precisely the contents of the GBA – intricate, tectonic objects which do not conform to the idiosyncrasies of the technology at hand.\u0000\u0000 The subsequent discussion then proceeds to advance, and explicate, the notion of the third object. Curation, then, is surrendered to the archival process itself, and the agency to reify our material history is at risk of being left to the machines, and their preference for certain types of ethnocultural artifact. Considering this, alternative strategies are presented for both the GBA and institutions at large, yet archivists and historians must be conscious of these limitations, or risk the failings of traditional, institutional archival systems spreading throughout a growing digital landscape. \u0000","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121113626","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 paper examines the reorientations of the appreciation of ugliness within different national contexts in a comparative or relational frame, juxtaposing the British, Italian, and Australian milieus, and to relate them to the ways in which the transformation of the urban fabric and the effect of suburbanization were perceived in the aforementioned national contexts. Special attention is paid to the production and dissemination of the ways the city’s uglification was conceptualized between the 1950s and 1970s. Pivotal for the issues that this paper addresses are Ian Nairn’s Outrage: On the Disfigurement of Town and Countryside (1956) Robin Boyd’s Australian Ugliness (1960), and the way the phenomenon of urban expansion is treated in these books in comparison with other books from the four national contexts under study, such as Ludovico Quaroni’s La torre di Babele (1967) and Reyner Banham’s The New Brutalism: Ethic Or Aesthetic? (1966).
{"title":"The Reconceptualization of the City’s Ugliness Between the 1950s and 1970s in the British, Italian, and Australian Milieus","authors":"Marianna Charitonidou","doi":"10.55939/a3981pqn6x","DOIUrl":"https://doi.org/10.55939/a3981pqn6x","url":null,"abstract":"The paper examines the reorientations of the appreciation of ugliness within different national contexts in a comparative or relational frame, juxtaposing the British, Italian, and Australian milieus, and to relate them to the ways in which the transformation of the urban fabric and the effect of suburbanization were perceived in the aforementioned national contexts. Special attention is paid to the production and dissemination of the ways the city’s uglification was conceptualized between the 1950s and 1970s. Pivotal for the issues that this paper addresses are Ian Nairn’s Outrage: On the Disfigurement of Town and Countryside (1956) Robin Boyd’s Australian Ugliness (1960), and the way the phenomenon of urban expansion is treated in these books in comparison with other books from the four national contexts under study, such as Ludovico Quaroni’s La torre di Babele (1967) and Reyner Banham’s The New Brutalism: Ethic Or Aesthetic? (1966).\u0000","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134049920","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}
This research contributes to the influential work of Melbourne-based Architect, Gregory Burgess. Awarded the RAIA Gold Medal in 2004, Burgess is best known for celebrating human values through design and for his spiritual methodologies, organic aesthetic, and work with Indigenous landowners. While Burgess has initiated very little writing, his work has been the focus of numerous articles published within a variety of journals, newsletters, magazines, and books including those from the construction industry which are often overlooked in journalistic reviews. This paper investigates discussions of architecture in publications through lenses such as intended audiences and physical medium, which consequentially develop narratives and form perceived relationships between an architectural project, an architect, and reader. Conducted as archival research within Gregory Burgess’s anthology of saved publications, the examination and cataloguing of over 230 publications that mention him and his work date from 1979-2013. The breadth of the collection provides publications which range from local timber fabrication companies to Russian journals reviewing organic architecture, the majority in which the architect and the work was discussed without consultation from the design team. As a robust collection was maintained by the architect himself, general issues of discovering and accessing publications including those which fall within the digital dark age can be accessed and provide a fuller historical perception of the built work. The discussions of and narratives formed within this literature portray Burgess and his work in conscientious manners through the written word targeted for specific audiences: the construction industry, the trained architect, and members of the general public. Often, rather than contributing to architectural journalism or critique in a meaningful way, prominent projects and their broader themes become a vehicle for the author to promote their own voice and ideas. The findings argue that the different relationships an author has experiencing an architectural space demonstrates a broader picture of the architectural industry and the ways that historical publications can generate a perception of a designer and their designs.
{"title":"Written into Existence: Publications and the Perceived Narratives of Gregory Burgess’s Architecture","authors":"D. Webster","doi":"10.55939/a3991p9ifg","DOIUrl":"https://doi.org/10.55939/a3991p9ifg","url":null,"abstract":"This research contributes to the influential work of Melbourne-based Architect, Gregory Burgess. Awarded the RAIA Gold Medal in 2004, Burgess is best known for celebrating human values through design and for his spiritual methodologies, organic aesthetic, and work with Indigenous landowners. While Burgess has initiated very little writing, his work has been the focus of numerous articles published within a variety of journals, newsletters, magazines, and books including those from the construction industry which are often overlooked in journalistic reviews. This paper investigates discussions of architecture in publications through lenses such as intended audiences and physical medium, which consequentially develop narratives and form perceived relationships between an architectural project, an architect, and reader. Conducted as archival research within Gregory Burgess’s anthology of saved publications, the examination and cataloguing of over 230 publications that mention him and his work date from 1979-2013. The breadth of the collection provides publications which range from local timber fabrication companies to Russian journals reviewing organic architecture, the majority in which the architect and the work was discussed without consultation from the design team. As a robust collection was maintained by the architect himself, general issues of discovering and accessing publications including those which fall within the digital dark age can be accessed and provide a fuller historical perception of the built work.\u0000\u0000 The discussions of and narratives formed within this literature portray Burgess and his work in conscientious manners through the written word targeted for specific audiences: the construction industry, the trained architect, and members of the general public. Often, rather than contributing to architectural journalism or critique in a meaningful way, prominent projects and their broader themes become a vehicle for the author to promote their own voice and ideas. The findings argue that the different relationships an author has experiencing an architectural space demonstrates a broader picture of the architectural industry and the ways that historical publications can generate a perception of a designer and their designs.\u0000","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134109201","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}
Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building. The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII. Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.
{"title":"Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia","authors":"G. Marfella","doi":"10.55939/a4000pi5hk","DOIUrl":"https://doi.org/10.55939/a4000pi5hk","url":null,"abstract":"Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored.\u0000\u0000 In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building.\u0000\u0000 The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII.\u0000\u0000 Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.\u0000","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"212 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134061700","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}
This paper is based on archival research done for a larger project looking at the impact of emergent transnational networks in Asia on the work of New South Wales architects. During the period of the Cultural Revolution in China (1966-1976), the neighbouring territories of Macau and Hong Kong served as centres of resistance, where an expatriate population interested in traditional Asian arts and culture would find growing support and patronage amongst the elite intellectual class. This brought influential international actors in the fields of journalism, filmmaking, art and architecture to the region, including a number of Australian architects. This paper traces the history of one such Australian émigré, Alan Gilbert, who arrived in Macau in 1963 just before the Cultural Revolution and continued to work as a professional filmmaker and photojournalist documenting the revolution. In 1967 he joined the influential design practice of Dale and Patricia Keller (DKA) in Hong Kong, where he met his future wife Sarah Lo. By the mid 1970s both Alan Gilbert and Sarah Lo had left to start their own design practice under Alan Gilbert and Associates (AGA) and Innerspace Design. The paper particularly explores their engagement with ‘reform-era’ China in the late 1970s and early 1980s when they secured one of the first and largest commissions awarded to a foreign design firm by the Chinese government to redesign a series of nine state- run hotels, two of which, the Minzu and Xiyuan Hotels in Beijing, are discussed here.
本文基于一项大型项目的档案研究，该项目着眼于新兴的亚洲跨国网络对新南威尔士州建筑师工作的影响。在中国文化大革命期间(1966年至1976年)，澳门和香港的邻近地区成为了抵抗运动的中心，在那里，对亚洲传统艺术和文化感兴趣的外籍人士得到了精英知识分子阶层越来越多的支持和赞助。这为该地区带来了新闻、电影制作、艺术和建筑领域有影响力的国际演员，其中包括一些澳大利亚建筑师。本文追溯了这样一个澳大利亚人的历史，他就是艾伦·吉尔伯特(Alan Gilbert)，他在1963年文化大革命前夕来到澳门，并继续作为一名专业电影制作人和摄影记者记录这场革命。1967年，他在香港加入了颇具影响力的戴尔和帕特里夏·凯勒(DKA)设计事务所，在那里他遇到了他未来的妻子罗嘉玲(Sarah Lo)。到20世纪70年代中期，Alan Gilbert和Sarah Lo都离开了公司，在Alan Gilbert and Associates (AGA)和Innerspace design公司开始了自己的设计实践。本文特别探讨了他们在20世纪70年代末和80年代初与“改革时代”中国的合作，当时他们获得了中国政府授予外国设计公司的首批也是最大的委托之一，重新设计了一系列9家国有酒店，其中两家是北京的民族酒店和西苑酒店，本文将在此讨论。
{"title":"Alan Gilbert and Sarah Lo in Reform Era China and Hong Kong: A NSW Architect in Asia","authors":"Anna Corkhill, Amit Kumar Srivastava","doi":"10.55939/a4015pq8jc","DOIUrl":"https://doi.org/10.55939/a4015pq8jc","url":null,"abstract":"This paper is based on archival research done for a larger project looking at the impact of emergent transnational networks in Asia on the work of New South Wales architects. During the period of the Cultural Revolution in China (1966-1976), the neighbouring territories of Macau and Hong Kong served as centres of resistance, where an expatriate population interested in traditional Asian arts and culture would find growing support and patronage amongst the elite intellectual class. This brought influential international actors in the fields of journalism, filmmaking, art and architecture to the region, including a number of Australian architects.\u0000\u0000 This paper traces the history of one such Australian émigré, Alan Gilbert, who arrived in Macau in 1963 just before the Cultural Revolution and continued to work as a professional filmmaker and photojournalist documenting the revolution. In 1967 he joined the influential design practice of Dale and Patricia Keller (DKA) in Hong Kong, where he met his future wife Sarah Lo. By the mid 1970s both Alan Gilbert and Sarah Lo had left to start their own design practice under Alan Gilbert and Associates (AGA) and Innerspace Design. The paper particularly explores their engagement with ‘reform-era’ China in the late 1970s and early 1980s when they secured one of the first and largest commissions awarded to a foreign design firm by the Chinese government to redesign a series of nine state- run hotels, two of which, the Minzu and Xiyuan Hotels in Beijing, are discussed here. \u0000","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133121979","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}
Established during the Second World War, the Commonwealth Experimental Building Station (CEBS) researched new building technologies with an emphasis on housing construction. The CEBS experimented with materials and design prototypes in collaboration with both industry and the Council for Scientific and Industrial Research (CSIR), which later became the Commonwealth Scientific and Industrial Research Organisation (CSIRO). Based in North Ryde, Sydney, the CEBS was associated with the Department of Post-War Reconstruction during the Second World War and then moved to the Department of Works and Housing. The paper introduces the CEBS’s initial aims through its housing research and design experimentation with built prototypes in Sydney during the 1940s. This research into house design, positioned at the edge of innovation, is situated in the wider housing context of the period. Federally funded building research was predicated by the Commonwealth of Australia’s housing shortage during and extending beyond the Second World War. Due to a lack of traditional materials such as bricks and timber from the war effort, the agency trialled developing low-cost, prefabricated concrete and steel houses. These housing experiments are considered in connection to cultural framings of home and its physicality in circulation at the time. After the Second World War, the detached suburban house gained momentum in the political and cultural vernacular as the ideal house for ownership. By examining the CEBS’s activities in connection to this background, the paper asks how the nation-state developed mass-production systems to enable government-sponsored agencies to produce more housing for more people but also how understandings of house and home surround and influence innovation in design.
{"title":"Producing the House: The Commonwealth Experimental Building Station and Housing Research","authors":"Renee Miller-Yeaman","doi":"10.55939/a3995ptgqb","DOIUrl":"https://doi.org/10.55939/a3995ptgqb","url":null,"abstract":"Established during the Second World War, the Commonwealth Experimental Building Station (CEBS) researched new building technologies with an emphasis on housing construction. The CEBS experimented with materials and design prototypes in collaboration with both industry and the Council for Scientific and Industrial Research (CSIR), which later became the Commonwealth Scientific and Industrial Research Organisation (CSIRO). Based in North Ryde, Sydney, the CEBS was associated with the Department of Post-War Reconstruction during the Second World War and then moved to the Department of Works and Housing. The paper introduces the CEBS’s initial aims through its housing research and design experimentation with built prototypes in Sydney during the 1940s. This research into house design, positioned at the edge of innovation, is situated in the wider housing context of the period. Federally funded building research was predicated by the Commonwealth of Australia’s housing shortage during and extending beyond the Second World War. Due to a lack of traditional materials such as bricks and timber from the war effort, the agency trialled developing low-cost, prefabricated concrete and steel houses. These housing experiments are considered in connection to cultural framings of home and its physicality in circulation at the time. After the Second World War, the detached suburban house gained momentum in the political and cultural vernacular as the ideal house for ownership. By examining the CEBS’s activities in connection to this background, the paper asks how the nation-state developed mass-production systems to enable government-sponsored agencies to produce more housing for more people but also how understandings of house and home surround and influence innovation in design. \u0000","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125532211","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}
Successive house building booms from the late 19th century until the Second World War shaped London’s built environment decisively. In terms of the sheer size of area covered, the dispersed, suburban London of terraced, semi- and detached houses that we know today was to a large extent created then, and much of it was built speculatively - by private firms for an assumed demand. Despite this legacy, the questions of who those involved in the design were and how they did it is an under-researched topic surrounded by assumptions that are often difficult to substantiate. Speculative housing of the period has long been regarded as an example of vernacular architecture, made by craftsmen using standard templates, so-called pattern books, without architect’s or otherwise professional involvement. The idea – in its extreme, ‘ultra’ form - is that designers were hardly necessary, as builders could simply copy house designs found in popular books and build from these. This idea of house building without architects or designers is also reflected in some of the literature but has been questioned more recently in academic research. This paper will discuss the key occupations involved in the design and planning of speculative housing 1880s – 1939 through a survey of Building Applications for Richmond. These can only be understood in the context of its working world where boundaries between building and design roles were often less specialized than today. The evidence suggests that housing design was not as standardised as it appears, by simply reusing templates, but that much of it was in fact designed, usually for a number of dwellings at a time - by builders, architects and also by other professionals. These were the other ‘architects’ who made the London we know today.
{"title":"The Other Architects Who Made London: Building Applications in Richmond 1886 -1939.” between Architecture and Engineering","authors":"D. Kroll","doi":"10.55939/a3987pr6js","DOIUrl":"https://doi.org/10.55939/a3987pr6js","url":null,"abstract":"Successive house building booms from the late 19th century until the Second World War shaped London’s built environment decisively. In terms of the sheer size of area covered, the dispersed, suburban London of terraced, semi- and detached houses that we know today was to a large extent created then, and much of it was built speculatively - by private firms for an assumed demand. Despite this legacy, the questions of who those involved in the design were and how they did it is an under-researched topic surrounded by assumptions that are often difficult to substantiate. Speculative housing of the period has long been regarded as an example of vernacular architecture, made by craftsmen using standard templates, so-called pattern books, without architect’s or otherwise professional involvement. The idea – in its extreme, ‘ultra’ form - is that designers were hardly necessary, as builders could simply copy house designs found in popular books and build from these. This idea of house building without architects or designers is also reflected in some of the literature but has been questioned more recently in academic research.\u0000\u0000 This paper will discuss the key occupations involved in the design and planning of speculative housing 1880s – 1939 through a survey of Building Applications for Richmond. These can only be understood in the context of its working world where boundaries between building and design roles were often less specialized than today. The evidence suggests that housing design was not as standardised as it appears, by simply reusing templates, but that much of it was in fact designed, usually for a number of dwellings at a time - by builders, architects and also by other professionals. These were the other ‘architects’ who made the London we know today. \u0000","PeriodicalId":445270,"journal":{"name":"Proceedings of the Society of Architectural Historians, Australia and New Zealand.","volume":"41 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120901151","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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