Relationship Of Architecture Research Articles

Review: Forensic Architecture: Violence at the Threshold of Detectability, by Eyal Weizman

Review: <i>Forensic Architecture: Violence at the Threshold of Detectability</i>, by Eyal Weizman

Review: The Printed and the Built: Architecture, Print Culture and Public Debate in the Nineteenth Century, edited by Mari Hvattum and Anne Hultzsch, and Plaster Monuments: Architecture and the Power of Reproduction, by Mari Lending

Mari Hvattum and Anne Hultzsch, eds. The Printed and the Built: Architecture, Print Culture and Public Debate in the Nineteenth Century London: Bloomsbury Visual Arts, 2018, 306 pp., 115 color illus. £75.00 (cloth), ISBN 9781350038417; £24.99 (paper), ISBN 9781350038400 Mari Lending Plaster Monuments: Architecture and the Power of Reproduction Princeton, N.J.: Princeton University Press, 2018, 284 pp., 48 color and 73 b/w illus. $49.95/£40 (cloth), ISBN 9780691177144 “For better or worse, all my figures are men and all my texts are canonical, but the men do not look so triumphant in retrospect, and today the canon appears less a barricade to storm than a ruin to pick through.” These lines, written by Hal Foster, appear in his 2002 article “Archives of Modern Art,” which traces major shifts in the memory structure of European art between 1850 and 1950. Rereading this history through a series of oppositions (Baudelaire/Manet, Valery/Proust, Panofsky/Benjamin), Foster examines the “institutional relay” between the artist's studio and the space of the museum. Art in the nineteenth century was a “mnemonic elaboration” of earlier work. Yet this relation between the atelier and the museum was hardly a one-way street: Baudelaire's idea of artistic practice, for instance, “already presumes the space of the museum as the structure of its mnemonic effects.” Each theorist's position is reread through a “dialectic of reification and reanimation”—that is, the shifting relation between art museum and art studio could reanimate European art, reify it into a spectacle, or both. Foster ends by asking how our own archival moment, the age of digital reproducibility, is transforming art's memory structure. His answer is compelling: “If the old museum, as imagined from Baudelaire through Proust and beyond, was the site for the mnemonic reanimation of visual art, the new museum tends to split the mnemonic experience from the visual one.”1 Decoupled from its archival/mnemonic function, the new museum highlights the exhibition and exchange value of art in unprecedented ways. The two volumes under review here offer insight into the now-lost memory structure of the nineteenth century by rethinking architecture's relation with technical reproductions—printed images and plaster casts. Meticulously researched and produced, these two books reveal a curatorial approach to architectural history, one that foregrounds …

Gilles Deleuze and the Missing Architecture

This essay combines experiential writing, quotes from Virginia Woolf's novel The Waves and Gilles Deleuze's philosophy in order to indicate that architecture remains a largely overlooked instance of the world. This is particularly problematic in the context of the question of immanence, which can be understood to lie at the core of Deleuze's philosophy. Architecture's relation to thought is discussed here via Deleuze's writing in Difference and Repetition and pursued in conjunction with Simone Brott's notion of architectural ‘effects’. Rather than seeing encounters with architecture as the site of recognition of the habitual and routine, our experience of architecture-as-world should be understood to ceaselessly contribute to the emergence of thought. Brian Massumi's writing offers one potential direction to pursue, via the notion of the diagram tied to experience before it is fed into the loop of architectural design and its accompanying representational techniques.

Beyond the Flatline

AbstractHigh Post‐Modernism with its understanding of the significance of the image anticipated the flattening of culture, first in advertising and the printed media, and more recently online. Sam Jacob of FAT speculates on architecture's relationship with the Internet, ‘a flatland of undifferentiated information’, and how Radical Post‐Modernism might be best placed to resist the ubiquity of global culture while reanimating the social and cultural agenda of Modernism and Post‐Modernism. Copyright © 2011 John Wiley &amp; Sons, Ltd.

A towards an extended relational algebra for software architecture

Software architecture is often structured as box-and-arrow graphs and has important implications for system development and maintenance. We propose an extended relational algebra to support presentation and manipulation of both architectural structures and implications. The core structure of this algebra is the extended architectural relation (EAR). An EAR is a mapping from an architectural relation (AR) to a multi-set of attributes (M), where the AR is an ordinary relation representing an architectural structure, and the M represents a multi-set representing a type of architectural implication. A set of EAR operations is then defined to support EAR manipulations. The main advantage of this extended algebra over ordinary relational algebras is that the architectural implications (the M part) are presented and manipulated together with the architectural structures (the AR part). This paper first discusses why we propose the algebra, then briefly introduces what the algebra is, and finally describes how to use the algebra in a real scenario.

55/02: A manufactured architecture in a manufactured landscape

The spectacular surroundings of Kielder Water &amp; Forest Park, in Northumberland, England, are a confluence of opposing states: the man-made and natural; the utilitarian and recreational; the beautiful and isolated; shaped by weather converging from east and west. Kielder Castle was built in 1775 as the Duke of Northumberland's hunting lodge. In recent years the territory has gained notoriety for a series of innovative art and architectural commissions including Belvedere by Softroom Architects (1999), Kielder Skyspace by the American artist James Turrell (2000), Minotaur by architect Nick Coombe and artist Shona Kitchen (2003), and Kielder Observatory by Charles Barclay Architects (2008). This paper outlines one of Kielder's most recent additions – a shelter entitled 55/02 – the result of a collaboration between sixteen*(makers) and manufacturers Stahlbogen GmbH. The work rekindles the symbiotic relationship between design and making once central to the production of architecture. The reawakening of this tradition has been stimulated by the mainstream adaptation of CAD/CAM as an industrial and disciplinary medium which binds the protocols of drawing with those of fabrication. However, as this account of the project shows, the relevance of an increasingly digitised world extends beyond the production of 55/02 as an artefact – it forms the basis of the architecture's relationship with its locality as an industrial, historical, social, cultural and manufactured landscape [1].

On dependencies between architecture and media: considering the remote work

To consider architecture as a communicative medium requires acknowledgment of the necessity of mediating artifacts suchas drawings, models, and photographs, insofar as these artifacts provide structure for communication and discourse. In this essay, I examine the criticality of mediating artifacts to architecture's communicative potential by proposing a tactical identity between the act of architectural design and the study of architectural precedent. In both situations, mediating artifacts incorporate decisions and assumptions about how architectural significance should be communicated.I propose two hypotheses as frames within which to discuss architecture's dependence on mediating artifacts. First, the Neutral Frame hypothesis suggests that significant attributesof a work of architecture are capable of disclosure regardless of the medium through which these attributes are "filtered.” By contrast, the Production Bias hypothesis holds that significant attributes of a work of architecture can be identified as unique to a medium of investigation, and furthermore, that in some cases it may not be possible to disclose a given attribute by any other means. By considering existing photographs of a completed work of architecture (Crown Hall in Chicago,Illinois) in two ways, first through computer-aided manipulation and second by diagramming superimposed fields-of-view of photographs from two distinct sources, I suggest that the Production Bias hypothesis is the better explanation of architecture's relationship to mediating artifacts.

3+1 architects

AbstractWithout the predominance of a single presiding tradition of modern architecture in Estonia, the way has been clear for a younger generation of architects to make their mark. Andres Kurg describes the work of 3+1 architects, who launched their career in the mid‐1990s with an Estonian Embassy in Vilnius, Lithuania. Through their trend‐setting domestic work, they have proved able to appeal to a new wealthy client base, while also developing their own interests in programme and architecture's relationship to the physical landscape. Copyright © 2007 John Wiley &amp; Sons, Ltd.

The Project of Modernity: Can Architecture Make It?

The title of this essay suggests that architecture's relation to modernity is acomplex one. What needs to be discussed is the specificity of architecture'sconflict with modernity. While historical analysis theorizes socio-cultural andpolitical phenomena, the thematic of architecture's entanglement with capitalismnecessitates an argument, addressing the dialogical relationship betweentheory and practice. Historical analysis is one thing; mobilization ofhistory to change the present situation is another. This much is clear from thediscourse of thinkers who are associated with ‘critical theory,’ and the work ofarchitectural historian Manfredo Tafuri, among others. This essay attempts to read Tafuri's Architecture and Utopia: Design andCapitalist Development, translated into English in 1976,1 in the context ofcurrent critical theories and to demonstrate the relevance of his argumenttoday. To be more specific, the intention is to approach Tafuri's text from theargument presented in the first chapter of Susan Buck-Morss's Dreamworld andCatastrophe.2 The author re-writes the interaction between the early modernstates and avant-garde artists in reference to space and time. Her paradigmsuspends the idea of Zeitgeist and shows how space (territory) was the subjectmatter of an idea of progress that was imagined by both capitalist and socialiststates of the 1930s. Secondly, Buck-Morss discusses the ways architectureoccasionally went out-of-time in the historical cosmology, formulated by theforces of modernization that were unravelling during the early decades of thelast century. Her discourse provides a system of periodization that surpasseshistoricism. Tafuri's vision of history also questions historicism,3 but if read inthe light of Buck-Morss's discourse, one can see ideas in Tafuri which areperhaps more relevant to architecture's situation today than when they werewritten.

Frank Gehry: roofing, wrapping, and wrapping the roof

Frank Gehry's work has taken the architectural stage worldwide. Without theorising his work, Gehry has produced a sensible architecture that deserves serious examination. In many ways, his work speaks for the present problematic state of architecture; the long standing relation of architecture to sculpture and other forms of artistic creativity; architecture's relation to its own history; the impact of telecommunication technologies on architecture; and the aesthetic implications of the commodity fetishism for architecture. Reflecting on these issues, the main intention of this essay is to demonstrate the perme ation of the 'culture of building' in Gehry's architecture, in particular the Semperian discus sion of the tectonic relationship between the elements of roof and enclosure. The paper also invokes Gottfried Semper's discourse on theatricality to demonstrate the way Gehry's architecture appropriates the present culture of spectacle. This much is clear from Gehry's shift from regionalism for the montage of fragmentary forms, and the theatricalisation of architecture where the element of wrapping defies the tectonic but also reminds us of the essentiality of the rapport between a constructed form and the clothing.

White walls, designer dresses: the fashioning of modern architecture

Mark Wigley offers an understanding of the historical avant-garde. He explores a feature of modern architecture - white walls. Although the white wall exemplifies the stripping away of the decorative masquerade costumes worn by 19th-century buildings, Wigley argues that modern buildings are not naked. The white wall is itself a form of clothing - the newly athletic body of the building, like that of its occupants, wears a new kind of garment and these garments are meant to match. Not only did almost all modern architects literally design dresses, Wigley points out, their arguments for a modern architecture were taken from the logic of clothing reform. Architecture was understood as a form of dress design. Wigley follows the trajectory of this key subtext by closely reading the statements and design of most of the protagonists, demonstrating that it renders modern architecture's relationship with the psychosexual economy of fashion much more ambiguous than the architects' endlessly repeated rejections of fashion would suggest. Indeed, Wigley asserts, the very intensity of these rejections is a symptom of how deeply they are embedded in the world of clothing. By drawing on arguments about the relationship between clothing and architecture first formulated in the middle of the 19th century, modern architects in fact presented a sophisticated theory of the surface, modernizing architecture by transforming the status of the surface. White Walls, Designer Dresses shows how this seemingly incidental clothing logic actually organizes the detailed design of the modern building, dictating a system of polychromy, understood as a multicoloured outfit. The familiar image of modern architecture as white turns out to be the effect of a historiographical tradition that has worked hard to suppress the colour of the surfaces of the buildings that it describes. Wigley analyzes this suppression in terms of the sexual logic that invariably accompanies discussions of clothing and colour, recovering those sensuously coloured surfaces and the extraordinary arguments about clothing that were used to defend them.

The presence of Mies

Presence of is an interdisciplinary collection of essays that reconsiders work of Ludwig Mies van der Rohe, putting forth new ways of thinking about his work and new possibilities for extending its influence into contemporary architecture and cultural theory.The work of Ludwig Mies van der Rohe, one of this century's most important architects, has alternately been revered and reviled.The diverse outlook of contributors produces a stimulating array of perspectives that consider multiple resonances of Mies's work in relation to technology, image culture, philosophy, art, and education. Editor Detlef Mertins and president and director of Canadian Centre for Architecture, Phyllis Lambert, reconsider aspects of Mies's research and practice. Fritz Neumeyer, whose book on Mies's writings, Artless Word is a point of reference for many Mies scholars, and Sanford Kwinter both address architecture's relationship to technology; Dan Hoffman and Ben Nicholson discuss pedagogical ambitions and work of their design studios, at Cranbrook Academy of Art and Illinois Institute of Technology, respectively, where they have extended and transformed aspects of Mies's architecture and teaching. Rosalind Krauss and Ignasi de Sol-Morales Rubi stake out opposed interpretations of Minimalism and Mies. Rebecca Comay and George Baird both test-drive Mies through philosophies of Martin Heidegger and Hannah Arendt. Brian Boigon and Beatriz Colomina address Mies in relation to the culture of images, while K. Michael Hays proposes new interpretations of Mies's abstraction. Presence of also includes over 120 black and white illustrations of master's buildings.These essays result from a symposium organized by University of Toronto School of Architecture and Landscape Architecture marking 25th Anniversary of a monolithic Miesian edifice, The Toronto-Dominion Centre, designed by Mies van der Rohe in 1963 (called by Philip Johnson the biggest Mies in world).