Pub Date : 2017-08-31DOI: 10.5749/FUTUANTE.14.1.0037
L. Amineddoleh
Abstract:This article traces the history of jurisprudence in heritage protection from its ancient origins to the recent 2016 International Criminal Court's first prosecution for the destruction of religious structures. The author explains how the law struggles to adequately address means of preserving shared cultural property, particularly in times of war. With the widespread use of social media and proliferation of global connectivity, the current turmoil in the Middle East has drawn attention to destruction and looting. As the relationship between heritage and terrorism is becoming more evident, the article aims to assess the renewed efforts through legal instruments and prosecutions to curb these destructive acts.
{"title":"The Legal Tools Used before and during Conflict to Avoid Destruction of Cultural Heritage","authors":"L. Amineddoleh","doi":"10.5749/FUTUANTE.14.1.0037","DOIUrl":"https://doi.org/10.5749/FUTUANTE.14.1.0037","url":null,"abstract":"Abstract:This article traces the history of jurisprudence in heritage protection from its ancient origins to the recent 2016 International Criminal Court's first prosecution for the destruction of religious structures. The author explains how the law struggles to adequately address means of preserving shared cultural property, particularly in times of war. With the widespread use of social media and proliferation of global connectivity, the current turmoil in the Middle East has drawn attention to destruction and looting. As the relationship between heritage and terrorism is becoming more evident, the article aims to assess the renewed efforts through legal instruments and prosecutions to curb these destructive acts.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"130 1","pages":"37 - 48"},"PeriodicalIF":0.1,"publicationDate":"2017-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79597342","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 : 2017-05-16DOI: 10.5749/futuante.13.2.0077
W. Böer
In the early decades of the twentieth century, the rapidly growing air-conditioning industry in the United States promised a new form of architectural environment: An odorless, germ-free, and well-tempered interior that aimed at improving the efficiency of production and human conduct. These spaces became pivotal in the conception of modern architecture and were in turn, as this essay suggests, based upon a new understanding of air itself. Perceived no longer as a natural resource but as a compound product, air transformed into an actively configurable material mediating between the human organism and the architectural environment. The various case studies in this essay focus on the specific ways in which scientific knowledge, often backed by the commercial interests of industrial corporations, was employed to dislocate air from the realm of nature and place it in the hands of ventilation engineers. As this modern air became an essential material for the maintenance of modern buildings, the architectural interior gradually became the domain of air-control.
{"title":"Synthetic Air","authors":"W. Böer","doi":"10.5749/futuante.13.2.0077","DOIUrl":"https://doi.org/10.5749/futuante.13.2.0077","url":null,"abstract":"In the early decades of the twentieth century, the rapidly growing air-conditioning industry in the United States promised a new form of architectural environment: An odorless, germ-free, and well-tempered interior that aimed at improving the efficiency of production and human conduct. These spaces became pivotal in the conception of modern architecture and were in turn, as this essay suggests, based upon a new understanding of air itself. Perceived no longer as a natural resource but as a compound product, air transformed into an actively configurable material mediating between the human organism and the architectural environment. The various case studies in this essay focus on the specific ways in which scientific knowledge, often backed by the commercial interests of industrial corporations, was employed to dislocate air from the realm of nature and place it in the hands of ventilation engineers. As this modern air became an essential material for the maintenance of modern buildings, the architectural interior gradually became the domain of air-control.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"16 1","pages":"101 - 76"},"PeriodicalIF":0.1,"publicationDate":"2017-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82154686","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 : 2017-05-16DOI: 10.5749/FUTUANTE.13.2.0119
Erik Wegerhoff
This article introduces the term Neue Sinnlichkeit (New Sensuousness) to describe a growing movement within architectural discourse from the mid-1980s until today. Aimed at creating buildings that appeal to a full sensory and bodily perception, i.e., architecture that can be smelled, tasted, heard, and felt as much as seen, Neue Sinnlichkeit is, in many ways, the sensuous counterpart to the rational Neue Sachlichkeit (New Objectivity). This sense-oriented movement made its breakthrough with the baths in Vals, Switzerland (1996), designed by Peter Zumthor. A sense-oriented reading of the baths was disseminated and popularized in a book, already published by the Architectural Association before the building’s completion. In addition to analyzing Zumthor’s work and writings and the Architectural Association’s role in fostering the new movement, the article scrutinizes works and writings by the academic, teacher, and architect Miroslav Šik (“Analoge Architektur,” 1987) and the Finnish architect and writer Juhani Pallasmaa (“An Architecture of the Seven Senses,” 1994). Eventually, the appeal to the senses matured into anti-intellectualism. The praise of materiality, sensuousness, emotions, and intuition worked against a discerning and critical beholder. Statements such as Pallasmaa’s “architecture is communication from the body of the architect directly to the body of the inhabitant” make clear that architecture is meant to be felt and not questioned. Neue Sinnlichkeit thus reveals itself to be another version of postcriticality, triggering reflexes, not reflection.
{"title":"Neue Sinnlichkeit: Postcritical Issues Regarding an Architecture of Sensuousness","authors":"Erik Wegerhoff","doi":"10.5749/FUTUANTE.13.2.0119","DOIUrl":"https://doi.org/10.5749/FUTUANTE.13.2.0119","url":null,"abstract":"This article introduces the term Neue Sinnlichkeit (New Sensuousness) to describe a growing movement within architectural discourse from the mid-1980s until today. Aimed at creating buildings that appeal to a full sensory and bodily perception, i.e., architecture that can be smelled, tasted, heard, and felt as much as seen, Neue Sinnlichkeit is, in many ways, the sensuous counterpart to the rational Neue Sachlichkeit (New Objectivity). This sense-oriented movement made its breakthrough with the baths in Vals, Switzerland (1996), designed by Peter Zumthor. A sense-oriented reading of the baths was disseminated and popularized in a book, already published by the Architectural Association before the building’s completion. In addition to analyzing Zumthor’s work and writings and the Architectural Association’s role in fostering the new movement, the article scrutinizes works and writings by the academic, teacher, and architect Miroslav Šik (“Analoge Architektur,” 1987) and the Finnish architect and writer Juhani Pallasmaa (“An Architecture of the Seven Senses,” 1994). Eventually, the appeal to the senses matured into anti-intellectualism. The praise of materiality, sensuousness, emotions, and intuition worked against a discerning and critical beholder. Statements such as Pallasmaa’s “architecture is communication from the body of the architect directly to the body of the inhabitant” make clear that architecture is meant to be felt and not questioned. Neue Sinnlichkeit thus reveals itself to be another version of postcriticality, triggering reflexes, not reflection.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"130 1","pages":"118 - 137"},"PeriodicalIF":0.1,"publicationDate":"2017-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73069083","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 : 2017-05-16DOI: 10.5749/futuante.13.2.0011
Jacques Herzog
Presented at the Netherlands Architecture Institute in 2005, Herzog & de Meuron’s “Rotterdam” olfactory object was composed of characteristic scents of its namesake: Rhine water, hashish, wet dog, and patchouli. Displayed alongside models, fragments, and archival materials, the perfume reinforced the firm’s interests in the sensual qualities of architecture. In this discussion with Future Anterior, Jacques Herzog details the firm’s investigations into the performative capabilities of smell in architecture, its role in the design of holistic, perceptual experience.
{"title":"Material and Performance: An Interview with Jacques Herzog","authors":"Jacques Herzog","doi":"10.5749/futuante.13.2.0011","DOIUrl":"https://doi.org/10.5749/futuante.13.2.0011","url":null,"abstract":"Presented at the Netherlands Architecture Institute in 2005, Herzog & de Meuron’s “Rotterdam” olfactory object was composed of characteristic scents of its namesake: Rhine water, hashish, wet dog, and patchouli. Displayed alongside models, fragments, and archival materials, the perfume reinforced the firm’s interests in the sensual qualities of architecture. In this discussion with Future Anterior, Jacques Herzog details the firm’s investigations into the performative capabilities of smell in architecture, its role in the design of holistic, perceptual experience.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"96 1","pages":"10 - 20"},"PeriodicalIF":0.1,"publicationDate":"2017-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88524888","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 : 2017-05-16DOI: 10.5749/FUTUANTE.13.2.0023
Melanie A. Kiechle
This article seeks to re-odor historic sites by offering an overview of the sources and methods that historians have been using to understand smells and olfaction in the past. In addition, it argues that preservationists must consider both material odors and the historic perception of those smells, which differs from contemporary audience’s perceptions of the same scents. It will not be enough for preservationists to recreate historic odors; they must explain how people in the past understood and reacted to these aromas, and find ways to engage visitors who react with disgust to a past that smells differently from the present.
{"title":"Preserving the Unpleasant: Sources, Methods, and Conjectures for Odors at Historic Sites","authors":"Melanie A. Kiechle","doi":"10.5749/FUTUANTE.13.2.0023","DOIUrl":"https://doi.org/10.5749/FUTUANTE.13.2.0023","url":null,"abstract":"This article seeks to re-odor historic sites by offering an overview of the sources and methods that historians have been using to understand smells and olfaction in the past. In addition, it argues that preservationists must consider both material odors and the historic perception of those smells, which differs from contemporary audience’s perceptions of the same scents. It will not be enough for preservationists to recreate historic odors; they must explain how people in the past understood and reacted to these aromas, and find ways to engage visitors who react with disgust to a past that smells differently from the present.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"13 1","pages":"22 - 32"},"PeriodicalIF":0.1,"publicationDate":"2017-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78458351","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 : 2017-05-16DOI: 10.5749/FUTUANTE.13.2.0045
Stefanie Hessler, Rebecca Uchill, Carsten Höller
For this issue of Future Anterior, curators Stefanie Hessler and Rebecca Uchill invited artist Carsten Höller to produce an olfactory insert based on his work with pheromone-infused media. Smelling Dots takes form as a “portrait of Cedric Price” by way of reference to Höller’s 2014 scented arboreal homage to the architect for the Venice Biennale exhibition: “Lucius Burckhardt and Cedric Price—A stroll through a fun palace.” This artistic olfactory commemoration points to the unfixed nature of smell memory—understood through neural pattern analysis differentiating odor from background information, contingent upon experience—a fitting tribute to Price’s continuously evolving Fun Palace.
{"title":"Pattern Recognition: A Background for Carsten Höller’s Smelling Dots (Portrait of Cedric Price), 2016","authors":"Stefanie Hessler, Rebecca Uchill, Carsten Höller","doi":"10.5749/FUTUANTE.13.2.0045","DOIUrl":"https://doi.org/10.5749/FUTUANTE.13.2.0045","url":null,"abstract":"For this issue of Future Anterior, curators Stefanie Hessler and Rebecca Uchill invited artist Carsten Höller to produce an olfactory insert based on his work with pheromone-infused media. Smelling Dots takes form as a “portrait of Cedric Price” by way of reference to Höller’s 2014 scented arboreal homage to the architect for the Venice Biennale exhibition: “Lucius Burckhardt and Cedric Price—A stroll through a fun palace.” This artistic olfactory commemoration points to the unfixed nature of smell memory—understood through neural pattern analysis differentiating odor from background information, contingent upon experience—a fitting tribute to Price’s continuously evolving Fun Palace.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"26 1","pages":"44 - 55"},"PeriodicalIF":0.1,"publicationDate":"2017-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91132552","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 : 2017-05-16DOI: 10.5749/futuante.13.2.0001
R. Kaiser
{"title":"Headspace: An Interview with Roman Kaiser","authors":"R. Kaiser","doi":"10.5749/futuante.13.2.0001","DOIUrl":"https://doi.org/10.5749/futuante.13.2.0001","url":null,"abstract":"","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"9 1","pages":"1 - 9"},"PeriodicalIF":0.1,"publicationDate":"2017-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73866122","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 : 2017-05-16DOI: 10.5749/FUTUANTE.13.2.0033
C. Verbeek
When putting an olfactory reconstruction on display in a museum, curators, conservators, and scholars face many challenges. Three aspects should be taken into account: the perceived object (the replicated scent), the perceiving subject (associations and hedonic value then and now), and the physical and infrastructural circumstances (function and context then and now). Two examples will demonstrate the opportunities and risks professionals encounter when putting scents on display in an ocularcentric, deodorized institution. The first case study deals with ancient perfumes of which residual material was found in a perfume factory dating back to 2000 B.C. The second one deals with The Beanery: a multisensory artwork by Edward Kienholz in the collection of the Stedelijk Museum, Amsterdam.
{"title":"Presenting Volatile Heritage: Two Case Studies on Olfactory Reconstructions in the Museum","authors":"C. Verbeek","doi":"10.5749/FUTUANTE.13.2.0033","DOIUrl":"https://doi.org/10.5749/FUTUANTE.13.2.0033","url":null,"abstract":"When putting an olfactory reconstruction on display in a museum, curators, conservators, and scholars face many challenges. Three aspects should be taken into account: the perceived object (the replicated scent), the perceiving subject (associations and hedonic value then and now), and the physical and infrastructural circumstances (function and context then and now). Two examples will demonstrate the opportunities and risks professionals encounter when putting scents on display in an ocularcentric, deodorized institution. The first case study deals with ancient perfumes of which residual material was found in a perfume factory dating back to 2000 B.C. The second one deals with The Beanery: a multisensory artwork by Edward Kienholz in the collection of the Stedelijk Museum, Amsterdam.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"1 1","pages":"33 - 42"},"PeriodicalIF":0.1,"publicationDate":"2017-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89096161","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 : 2017-05-16DOI: 10.5749/FUTUANTE.13.2.0057
D. Karmon
If contemporary architects consider smell to be insignificant or irrelevant, the design of the Sacro Monte di Varallo reveals how smell was harnessed to convey profound meaning in early modern Italy. Beginning in the fifteenth century, the Franciscans built a series of chapels upon an Alpine mountaintop that was intended as an accurate reconstruction of the Holy Land, thereby creating a strange and fascinating landscape that immersed pilgrims in the life of Christ and that also engaged all the senses. By considering the careful choreography of scent at this site, we can investigate the special value assigned to odor and olfaction by early modern builders, where the human encounter with smell provided an essential means to bind devotion and belief with lived experience.
如果说当代建筑师认为气味是无关紧要的，那么Sacro Monte di Varallo的设计揭示了在早期的现代意大利，气味是如何被利用来传达深刻的意义的。从15世纪开始，方济各会在阿尔卑斯山的山顶上建造了一系列的小教堂，旨在精确地重建圣地，从而创造了一个奇特而迷人的景观，使朝圣者沉浸在基督的生活中，同时也调动了所有的感官。通过仔细考虑这个地点的气味编排，我们可以研究早期现代建筑者赋予气味和嗅觉的特殊价值，在那里，人类与气味的相遇提供了一种将奉献和信仰与生活经验结合起来的重要手段。
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Pub Date : 2017-05-16DOI: 10.5749/FUTUANTE.13.2.0139
Sean Raspet
The lack of a scent discourse in art restricts our cultural understanding of olfaction. Part of this lack is attributable to an impoverished vocabulary for scent. Throughout Western culture, scents are referred to by their observable, visual counterpart, such as “banana.” However, looking at cultural factors that influence our sensorial vocabulary, researchers Asifa Majid and Niclas Burenhult have noted a more diverse vocabulary for olfactory phenomena in the Jahai language (spoken in parts of Malaysia and Thailand). Considering the possibilities of such extended scent vocabulary system, this article describes preliminary attempts to generate such terminology through a panel experiment at the Hammer Museum. In the results of the panel experiment, the prevalence of motion, tactile, and physical contour–related descriptors points to an almost uncanny relationship between the tactile and the olfactory. The sense of olfaction, like the tactile sense, often evokes metaphors of movement along a surface. This enlarged sensory vocabulary for describing scent would increase our ability to conceive of, and communicate, possible experiences within our material world, with potential implications for museum practitioners and preservationists.
{"title":"Toward an Olfactory Language System","authors":"Sean Raspet","doi":"10.5749/FUTUANTE.13.2.0139","DOIUrl":"https://doi.org/10.5749/FUTUANTE.13.2.0139","url":null,"abstract":"The lack of a scent discourse in art restricts our cultural understanding of olfaction. Part of this lack is attributable to an impoverished vocabulary for scent. Throughout Western culture, scents are referred to by their observable, visual counterpart, such as “banana.” However, looking at cultural factors that influence our sensorial vocabulary, researchers Asifa Majid and Niclas Burenhult have noted a more diverse vocabulary for olfactory phenomena in the Jahai language (spoken in parts of Malaysia and Thailand). Considering the possibilities of such extended scent vocabulary system, this article describes preliminary attempts to generate such terminology through a panel experiment at the Hammer Museum. In the results of the panel experiment, the prevalence of motion, tactile, and physical contour–related descriptors points to an almost uncanny relationship between the tactile and the olfactory. The sense of olfaction, like the tactile sense, often evokes metaphors of movement along a surface. This enlarged sensory vocabulary for describing scent would increase our ability to conceive of, and communicate, possible experiences within our material world, with potential implications for museum practitioners and preservationists.","PeriodicalId":53609,"journal":{"name":"Future Anterior","volume":"1 1","pages":"138 - 153"},"PeriodicalIF":0.1,"publicationDate":"2017-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89618472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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