What survives in the dark: cinephilia and alternative screening spaces in London

Book Review| March 01 2022 Thomas Jefferson, Architect: Palladian Models, Democratic Principles, and the Conflict of Ideals Lloyd DeWitt and Corey Piper, eds. Thomas Jefferson, Architect: Palladian Models, Democratic Principles, and the Conflict of Ideals Norfolk: Chrysler Museum of Art, in association with Yale University Press, 2019, 208 pp., 88 color and 86 b/w illus. $45 (cloth), ISBN 9780300246209 Bryan E. Norwood Bryan E. Norwood University of Texas at Austin Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2022) 81 (1): 106–108. https://doi.org/10.1525/jsah.2022.81.1.106 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Bryan E. Norwood; Thomas Jefferson, Architect: Palladian Models, Democratic Principles, and the Conflict of Ideals. Journal of the Society of Architectural Historians 1 March 2022; 81 (1): 106–108. doi: https://doi.org/10.1525/jsah.2022.81.1.106 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search The word “paradoxical” appears twice in Erik H. Neil’s introduction to the timely and beautifully illustrated volume Thomas Jefferson, Architect: Palladian Models, Democratic Principles, and the Conflict of Ideals, edited by Lloyd DeWitt and Corey Piper. Published in conjunction with a 2019 exhibition of the same name at the Chrysler Museum of Art in Norfolk, Virginia, the book contains, in addition to the introduction, seven individually authored essays and a series of large and well-chosen color plates. The first time “paradoxical” appears in Neil’s opening salvo, the bind described is domestic: on the one hand, the ideal shapes and coherent rules drawn from Vitruvius, Palladio, and Vignola that Jefferson used when designing houses like Monticello, and on the other, the fact that these places were “reliant upon slaves for their construction and operation” (3). The second time Neil uses “paradoxical” is in reference to Jefferson’s first public building, the... You do not currently have access to this content.

With the 'digital turn', machines now have the intrinsic capacity to learn from big data in order to understand the intricacies of architectural form.This paper explores the research question: how can architectural form become machine computable?The research objective is to develop "Deep Architectural Archiving" (DAA), a new method devised to address this question.DAA consists of the combination of four distinct steps: (1) Data mining, (2) 3D Point cloud extraction, (3) Deep form learning, as well as (4) Form mapping and clustering.The paper discusses the DAA method using an extensive dataset of architecture competitions in Switzerland (with over 360+ architectural projects) as a case study resource.Machines learn the particularities of forms using 'architectural' point clouds as an opportune machine-learnable format.The result of this procedure is a multidimensional, spatialized, and machine-enabled clustering of forms that allows for the visualization of comparative relationships among form-correlated datasets that exceeds what the human eye can generally perceive.Such work is necessary to create a dedicated digital archive for enhancing the formal knowledge of architecture and enabling a better understanding of innovation, both of which provide architects a basis for developing effective architectural form in a post-carbon world.

This study is about understanding of the Deleuze's concept of becoming in the context of figure-ground relations, through Peter Eisenman's architectural project 'The Galician City of Culture' built in Santiago de Compostela (Spain). Locating the study within the frames of ontology and phenomenology of space, theory of text and cultural analysis, the main hypothesis of this paper is that Eisenman's project 'The Galician City of Culture' performs transgression of the language of modernist architecture, blurring the boundaries between figure and ground. In other words, Eisenman's figurative form of 'The Galician City of Culture' is caught up in the act of becoming-ground (of a tectonic expression, but also of a broader social and cultural context). Developing this hypothesis through historical, comparative, theoretical and analytical method, the main aim of this study is understanding the architectural practice not as a mere art object, situation or an event, but as a work that is formed in the dense network of surrounding texts of society, landscape and culture, which is not exempted from these networks but occurring in the midst of them, determined by them and also determinative for them. In what way does Eisenman's architecture perform the transgression of the language of modernist architecture? How can that, which is an architectural form, at the same time be understood as transgression and vice versa, how can that, which is deviation, derogation, unfolding, at the same time be the form? How can we understand the concept of a figure becoming-ground in the context of the Eisenman's concrete example of architecture? These are the key questions of this study. In theoretical context, the study is based on the investigations of Gilles Deleuze, Felix Guattari, Colin Rowe, Le Corbusier, Jean Lyotard, Rosalind Krauss, Georges Bataille and Homi Bhabha.

El proyecto de vivienda conocido como la Weissenhofsiedlung, en el cual participaron diecisiete arquitectos representativos de lo que se ha dado a conocer como el Movimiento Moderno en Arquitectura, es uno de los más emblemáticos del siglo XX. A partir de la descripción de las técnicas constructivas utilizadas, en este artículo se expone cómo el experimento fue fundamental para desarrollar los principios de racionalización, tipificación, economía, flexibilidad y calidad que pretendían sus autores en la búsqueda de construir una nueva arquitectura, con el fin de poner de manifiesto la relación existente entre la técnica y la forma en la arquitectura.

In a living state organism, people are always trying to reinterpret political symbolism. Wolfgang Braunfels, Urban Design in Western Europe: Regime and Architecture, 900–1900 (1988), 321. Introduction It has been argued in previous chapters that states’ strategies to foster belonging among their citizens have led to the built environment being mobilized in a variety of ways in differing political contexts. The focus of this chapter is on two distinct but related developments in contemporary Europe: first, the European Union's attempts to embed their political project in cultural forms from architecture and the built environment (discussed with reference to the Brussels Capital of Europe project), and second, coexistent projects in member nation states to reposition and ‘Europeanize’ existing national architectural symbols (illustrated with reference to Norman Foster's reconstruction of the Reichstag in Berlin). An overarching concern of the chapter is to develop an understanding of the role of architects in the cultural construction of what can broadly be understood as ‘transnational’ European political projects. As such, the focal point is not so much the emergence or otherwise of a distinctly European style of architecture, but rather the extent to which the ongoing work of high-profile architects to embed the ‘imagined community’ (Anderson 1983) of Europe into socially meaningful forms reveals something about the wider politics of architecture in the contemporary European context. After a brief contextualization of EU cultural politics, the first substantive discussion in the chapter addresses the EU's Brussels, Capital of Europe project, which drew together a number of high-profile European cultural commentators – including the leading architects Rem Koolhaas and Jean Nouvel – to suggest a range of interventions both in Brussels’ built environment and in the EU's ‘branding’ more generally in order better to reflect the institution's ‘European’ values. The spatial and architectural projects that emerged from the project meetings and the subsequently published report (European Commission 2001) are explicit engagements with the cultural form that political Europeanization, a highly contested project in search of democratic legitimacy and popular support, should take. As a result, the Brussels Capital of Europe project reveals a number of the tensions associated with both the political mobilization of architects and, more broadly, the ambiguous relationship between architectural form and social meaning.

CHEIA T (Holistic Research, Integrated Academic Expertise: Technique, Technology, Transfer) was a research project initiated in 2022 by the Department of Technical Sciences, UAUIM. The three objectives of CHEIA T were transdisciplinary techniques approaches in architectural education, prefab building technologies analysis and sustainable knowledge transfer. The research team undertook a synthetic comparison of categories and items that configure the most important certification standards for sustainable buildings and filtered several elements having a direct influence upon the students’ architectural proposals. We created a complex survey addressed to students in the final years of the Faculty of Architecture, aiming to assess different ways of integrating sustainable principles and technologies into their architectural design studio projects. 10 components of sustainable architectural design were defined: Site, Inclusive Design, Air, Water, Sun & Light, Sound, Materials, Waste, Energy, Wellbeing. Considering the four pillars of sustainability, the multiple-choice options presented in each of the 10 specific areas of the survey focused on the architectural form, architectural details, social and environmental aspects. The synthesis of the 10 key sustainable components emphasizing pragmatic solutions presented in this research paper can be used as a valuable tool in architectural education when generating new ideas for architectural projects.

The Sustainable Development Center of the University of Brasilia is one of the modernist buildings that make up the Darcy Ribeiro campus. The architectural project contains several recommendations for the execution of the flat roof waterproofing system, as well as details for rainwater runoff and drainage, which reveals a certain concern with watertightness. The research seeks to identify the relationship between the pathological manifestations recognized on the roof and the semicircular shape of the building, assessing the state of conservation through the use of damage maps as an analysis tool. The article is based on a field survey using aerophotogrammetry with a drone, the application of vector drawing software for graphic representation and discussion of the possible causes, agents and mechanisms of degradation at work. The results show the importance of mechanical protection for the good performance of the waterproofing system, as well as the need for correct sizing of expansion joints in order to absorb and relieve the stresses caused by hygrothermal variations. The methodology incorporated proved to be effective and economical in diagnosing and monitoring pathological manifestations, making it possible to plan maintenance actions that extend the useful life and preserve the intrinsic characteristics of building systems.

Architecture and construction are highly interdisciplinary fields, integrating many professions and many disciplines on different levels of scale and complexity. Studies of natural systems have at all times been inspirational for design. Investigating the overlaps between biology and architecture we find that a biological paradigm inspires the current frontier of research and innovation in many sectors. Using biology's categories to analyse the field we discover many 'signs of life' in architecture projects, and many researchers are actively involved with ways to implement more and more aspects of life into buildings without calling themselves biomimeticists. Meanwhile the architectural landscape has adopted biomimetics, bionics, biologically inspired design or biomimicry as valid strategies. However, it still lacks a showcase of innovative products or real breakthrough in the form of a 'really biomimetic building'. This implies the interpretation of biomimetics as an architectural style, defining the entirety of a building, best reflected in the overall form.

This article discusses how the work of Luigi Snozzi in the village of Monte Carasso in Switzerland is relevant for the investigation of the relationship between rules and architectural form. It describes the work of Snozzi both as a nomothete and as a designer across thirty years, arguing that the impact of his code and that of harchitectural designs on the village are not separable. While Snozzi’s code for Monte Carasso, as reported in various publications and talks, builds on a series of indeterminacies that can potentially undermine its effectiveness, the architect’s own designs, such as the Guidotti House, act as models for the interpretation of the normative reach of the code. This article traces the indeterminacy of Snozzi's code, building on concepts borrowed from social ontology and philosophy of law, to describe how rules can contribute, in this case study, to determine architectural quality. In particular, the article questions the nature of the norms enacted in Monte Carasso to suggest that the unmediated application of building codes can lead to unfavourable architectural outcomes. It argues that, when considered as normative models, architectural projects can facilitate a more effective application of the ideas underlying the normative scope of architectural regulations.

El Teatro Español de Madrid, un edificio emblemático de las artes escénicas en España, tiene sus orígenes en 1583, cuando se inauguró como corral de comedias. A lo largo de los siglos, ha sido conocido por varios nombres, incluyendo Corral del Príncipe, Coliseo del Príncipe, Teatro del Príncipe y, finalmente, Teatro Español. La trayectoria de este espacio, que muy pronto pasó a ser de gestión municipal, está determinada por constantes transformaciones, como reformas, reconstrucciones totales o parciales, y ampliaciones, además de enfrentar desafíos, tales como incendios y declaraciones como ruina. El valor histórico del Teatro Español como edificio se evidencia no solo en su arquitectura y en su relevancia cultural, sino también en el impacto en su entorno urbano y en la riqueza de testimonios gráficos que posee. Esta tesis explora la evolución morfológica del Teatro Español desde 1745, cuando se reconstruyó como coliseo a la italiana, hasta 1929, cuando se formalizaron algunos aspectos clave de la sala y de sus espacios complementarios. A través de una investigación documental rigurosa, con un énfasis especial en el dibujo de arquitectura, el trabajo aborda los vacíos en el conocimiento y propone líneas de investigación particulares que profundizan en aspectos diversos para enriquecer la comprensión de la forma arquitectónica de este teatro. Estas líneas de investigación incluyen la implantación del tipo arquitectónico teatral a la italiana en Madrid, la pintura Baile en máscara de Luis Paret y Alcázar, el uso de Café vinculado al teatro, la arquitectura teatral neoclásica en Madrid, la formación de la Plaza de Santa Ana, la pintura inacabada Ventura de la Vega leyendo una obra en el Teatro del Príncipe de Antonio María Esquivel, algunos proyectos arquitectónicos para Teatro Nacional del siglo XIX en Madrid y la transformación del tipo arquitectónico teatral en el contexto de finales del siglo XIX y principios del siglo XX. Una de las contribuciones más destacadas de esta investigación radica en la recopilación meticulosa de proyectos, planos, grabados, dibujos, fotografías, documentación escrita, artículos de prensa y otros registros relevantes. Gran parte de este conjunto de cientos de documentos permanecía desconocido, o bien descontextualizado. Entre los resultados obtenidos se encuentra: la determinación de la relevancia del coliseo de 1745 para el edificio posterior, situándolo en su contexto tipológico y avanzando en el conocimiento de otros teatros madrileños del siglo XVIII; la confirmación de la identificación del espacio representado en la pintura citada de Paret con el Coliseo del Príncipe; el descubrimiento del año de origen del edificio adyacente para Café y la reconstrucción de su historia hasta 1925; la profundización en las intervenciones llevadas a cabo por Juan de Villanueva en este teatro; la identificación del vínculo existente entre las transformaciones del teatro y la formalización de la plaza de Santa Ana, de la que se expone su evolución de 1812 a 1943; la acotación y precisión en el contenido representado en la pintura citada de Antonio María Esquivel; el descubrimiento de proyectos arquitectónicos de Teatro Nacional en Madrid durante el siglo XIX; la identificación de la transformación del teatro desde el tipo arquitectónico teatral dieciochesco a la italiana a un teatro propiamente burgués, con numerosas intervenciones de arquitectos de relevancia. En este sentido, la investigación aporta una secuencia dibujada de los estados de la forma arquitectónica que ha experimentado el Teatro Español entre 1745 y 1929, retrocediendo hasta 1735 y extendiéndose hasta 2006. ABSTRACT The Teatro Español in Madrid, an iconic building of the performing arts in Spain, has its origins in 1583, when it was inaugurated as a corral de comedias. Over the centuries, it has been known by a variety of names, including Corral del Príncipe, Coliseo del Príncipe, Teatro del Príncipe and, finally, Teatro Español. The development of this space, which very soon came under municipal control, is determined by its constant transformations, such as reforms, total or partial reconstructions, and expansions, as well as facing challenges, such as fires and declarations of ruin. The historical importance of the Teatro Español as a building is evident not only in its architecture and cultural relevance, but also in its impact on the urban context and in the wealth of its graphic testimonies. This thesis explores the morphological evolution of the Teatro Español from 1745, when it was rebuilt as an Italian-style theatre, until 1929, when some key aspects of the theatre hall and its complementary spaces were formalised. Through a rigorous documentary research, with special emphasis on the architectural drawing, the work covers the knowledge gaps and proposes particular research directions that examine different aspects in order to improve understanding of the architectural form of this theatre. These research lines include the implementation of the Italian-style theatrical architecture in Madrid, the painting "Baile en máscara" by Luis Paret y Alcázar, the use of Café linked to the theatre, neoclassical theatrical architecture in Madrid, the creation of the Plaza de Santa Ana, the unfinished painting "Ventura de la Vega reading a play at the Teatro del Príncipe" by Antonio María Esquivel, some architectural projects for 19th-century National Theatre in Madrid and the transformation of the theatrical architecture in the context of the late 19th and early 20th century. One of the most outstanding contributions of this research consists of the meticulous compilation of projects, plans, engravings, drawings, photographs, written documentation, press articles and other relevant documents. Much of this collection of hundreds of documents was unknown or decontextualised. Some of the results obtained include: the determination of the 1745 coliseum's relevance for the later building, placing it in its typological context and increasing our knowledge of other 18th-century Madrid theatres; the confirmation that the space depicted in the aforementioned painting by Paret was identified with the Coliseo del Príncipe; the discovery to date the adjacent building for the Café and the reconstruction of its history up to 1925; an in-depth study of the interventions carried out by Juan de Villanueva in this theatre; the identification of the existing link between the transformations of the theatre and the Plaza de Santa Anas development, whose evolution from 1812 to 1943 is explained; the precise description of the content represented in the aforementioned painting by Antonio María Esquivel; the discovery of 19th century Teatro Nacional's architectural projects in Madrid; the identification of the transformation of the theatre form from an Italianate eighteenth-century theatrical architectural type to a properly bourgeois theatre, with numerous interventions by relevant architects. In this sense, the research provides a sketched sequence of the states of Teatro Español's architectural form between 1745 and 1929, going back to 1735 and extending to 2006.

In recent decades, digital diagrams have taken on a greater role in architectural projects, permitting, in terms of graphic prefigurative artifacts, other creative, relational and perceptive possibilities in the process of conceiving and representing architecture, which is increasingly focused on topics of complexity, transformation, flexibility, versatility, interaction, imprecision, virtuality, etc. Alluding to the notions of diagrams, machinic and figural of Deleuze and Guattari, these diagrams are constituted as strategic-communicative-productive intermediate matrix-space among architecture, the architect and the digital machine, and between architecture and other disciplinary fields. Functioning as hypertexts and creative and affective interfaces between the human imagination and architectural form, they propose a new type of reality in a permanent becoming, integrating both order and chaos, intention and the unexpected, mechanical and organic, real and virtual. Diagrams are no longer simply a strategic-informative technique that represents, they have become a technique or poetic operation that, in addition to representing, also presents and evokes.KeywordsArchitectural designContemporarinessDigital diagramsInterfaceHuman imaginationForm

The book illustrates the important role that a contradiction between and plays in compositional strategies in architecture. The contradiction between and is seen as a device for poetic expression, for the expression of ideas, in architecture. The book contributes to the project of re-establishing architecture as a humanistic discipline. Continuing the themes that have been addressed in The Humanities in Architectural Design and The Cultural Role of Architecture, this book illustrates the important role that a contradiction between and plays in compositional strategies in architecture. The contradiction between and is seen as a device for poetic expression, for the expression of ideas, in architecture. Here the role of the terms form and function are analyzed throughout the history of architecture and architectural theory, from Vitruvius to the present, with particular emphasis on twentieth-century functionalism. Historical examples are given from Ancient, Classical, Islamic, Christian, Byzantine, Gothic, Renaissance, Mannerist, and Neoclassical architecture, and from movements in the twentieth century to the present. In addition philosophical issues such as lineamenti, Vorstellung, differance, dream construction, deep structure and surface structure, topology theory, self-generation, and immanence are explored in relation to the compositions and writings of architects throughout history. This book contributes to the project of re-establishing architecture as a humanistic discipline, to re-establish an emphasis on the expression of ideas, and on the ethical role of architecture to engage the intellect of the observer and to represent human identity.

Architectural and urban projects in the countries of Eastern Europe after WWII were subordinated to political ideology, but also to the means of its implementation. The ideology of the communist party was realized through new forms of architecture and urban planning implemented in many war-ravaged and newly-built cities. This new, ideological architecture style was called socialist realism. The buildings of that period was to show the superiority of the new communist architecture over the modernist realizations of the interwar period. In many buildings, architectural solutions implemented were based on palace patterns, also numerous decorative elements, typical of Classicist architecture, were applied, enriched with themes of national architecture style. The urban systems created monumental spatial arrangements, often connected with industrial plants - steelworks, factories. The article will present chosen examples of housing estates complexes realized in socialist realism period in Poland (1949 - 1956). Keywords: Housing estates, Urban planning, Socialist realism, Postwar architecture, Polish architecture

Sam Jacob is an architect, writer and editor. He is currently principal of Sam Jacob Studio for architecture and design and is also Professor of Architecture at the University of Illinois, visiting Professor at Yale School of Architecture and Director of Night School at the Architectural Association. Sam Jacob Studio exhibited at the Venice Architectural Biennale 2016 as part of the Victoria and Albert Museum's World of Fragile Parts. The Studio is also working on a strategy for VA how is the term sculptural used or abused by architects. This has created a series of projects that have exploded traditional definitions of what formal architecture is composed of, to such an extent that the young, new generation find it challenging - there's no point in competing! This architecture presents itself as having its own kind of form-language. The relationships between a architecture and sculpture seem to constitute a delayed reaction to form-making.AL/KF: Do you think there's a deliberate, conscious anachronism in that delayed response?SJ: I don't know if it's deliberate. In some senses there are certain references which are, or which were, definitely already anachronistic. You could think of the relationship to Constructivism and its influence on a certain set of architects. Sometimes it's just age. Gehry is really old - he's still doing what he was doing when he and Rauschenberg were kids!AL/KF: Do you think that means that in Gehry's newer projects he's in a nostalgic mode? You could say something like that about Robert M. Stern and what he's doing, capitalizing on the nostalgia that Yale itself contains in its modern Gothic in his own designs for two more twenty-first-century, contemporary Gothic colleges, which contain an enormous amount of sculpture by Patrick Pinnell.SJ: Absolutely. Definitely. Sometimes it's nostalgic, and sometimes deliberate; sometimes it's just a coincidence.AL/KF: A little while ago you said something about Tracy Emin's Bed as being a bit architectural. Can you say a bit more about that?SJ: Yes, it's a kind of found architecture, claiming space, frozen time, taken out of its original context, as a record of the ephemeral architecture of the domestic.AL/KF: This morning I was thinking about domesticity, and about Alain de Botton's project for philosophical architecture and the Living Architecture series of houses. …

Albert Pope argues that a unified architectural and urban project is not possible without addressing the conceptual divide that exists between building and infrastructure. It is a split that was first set in motion by the breakdown of Modernism in the 1960s and was reaffirmed by the rise of Postmodernism. Since then, architectural form and urban infrastructure have not only remained disjointed, but have been overtly celebrated by the collages and juxtapositions of the contemporary and the historic in our cities.