Paul Emmons
Paul Emmons is an architect, professor, and author best known for his writings on the history and theory of architectural drawing practices. Currently, at Virginia Tech's Washington-Alexandria Architecture Center (WAAC), Emmons is the Patrick and Nancy Lathrop Professor of Architecture. He also serves as the Associate Dean of Graduate Studies for the College of Architecture, Arts, and Design,[2] and chairs the History and Theory track at WAAC of the Ph.D. program in Architecture and Design Research.
Emmons has written a number of books on the history and theory of architectural practices, including Drawing Imagining Building (2020), Ceilings and Dreams (2019), and Confabulations (2018).
Paul Emmons has constructed a distinguished career in architecture, contributing significantly to both academic and professional spheres. Since 1998, he has been a key figure at Virginia Tech, especially within the WAAC. Emmons assumed leadership of the PhD. program founded by Marco Frascari after Frascari departed to head the architecture program at Carleton University. Emmons was named the Patrick and Nancy Lathrop Professor of Architecture.[1] Emmons also organizes international Frascari Symposia to continue developing Frascari’s research agenda.
In addition to teaching and research, Emmons has served as Associate Dean of Graduate Studies since 2018.[2] Among his contributions, Emmons chaired the committee for the creation of the new College of Architecture, Arts, and Design and instituted and organized the college's Research Forum to promote and share faculty research. He also has served as editor and member of editorial boards for journals, including the Journal of Architectural Education, as well as manuscript reviewer for publishing houses.[citation needed]
Before his long-term role at Virginia Tech, Emmons held teaching positions at the University of Pennsylvania and the University of Minnesota. Internationally, he was the Haas Visiting Professor at Newcastle University.[citation needed]
Emmons practiced at several architecture firms in Minneapolis from 1983 to 1995. Clients he worked with include leading institutions, such as the Minneapolis Public Library, the Science Museum of Minnesota, and numerous universities including the University of Minnesota, University of Chicago, University of Virginia, University of California, Berkeley, and Yale University.
Since moving full-time into academia, Emmons has continued a small practice of competition entries, residences, and creative works including a collaboration with his sister, artist Carol Emmons. This work has resulted in exhibitions at galleries such as the Philadelphia Art Alliance and has been reviewed and published.[by whom?] The pair installed a permanent piece, competitively selected titled Dwelling in the Plan at the University of Wisconsin–Milwaukee's School of Architecture and Urban Planning Building. Emmons has also organized and curated several exhibitions at WAAC, both group shows and individual exhibitions of drawings by architects such as Douglas Darden.
Emmons has written a number of books on the history and theory of architectural practices, including Drawing Imagining Building (2020), Ceilings and Dreams (2019), and Confabulations (2018).
Paul Emmons has constructed a distinguished career in architecture, contributing significantly to both academic and professional spheres. Since 1998, he has been a key figure at Virginia Tech, especially within the WAAC. Emmons assumed leadership of the PhD. program founded by Marco Frascari after Frascari departed to head the architecture program at Carleton University. Emmons was named the Patrick and Nancy Lathrop Professor of Architecture.[1] Emmons also organizes international Frascari Symposia to continue developing Frascari’s research agenda.
In addition to teaching and research, Emmons has served as Associate Dean of Graduate Studies since 2018.[2] Among his contributions, Emmons chaired the committee for the creation of the new College of Architecture, Arts, and Design and instituted and organized the college's Research Forum to promote and share faculty research. He also has served as editor and member of editorial boards for journals, including the Journal of Architectural Education, as well as manuscript reviewer for publishing houses.[citation needed]
Before his long-term role at Virginia Tech, Emmons held teaching positions at the University of Pennsylvania and the University of Minnesota. Internationally, he was the Haas Visiting Professor at Newcastle University.[citation needed]
Emmons practiced at several architecture firms in Minneapolis from 1983 to 1995. Clients he worked with include leading institutions, such as the Minneapolis Public Library, the Science Museum of Minnesota, and numerous universities including the University of Minnesota, University of Chicago, University of Virginia, University of California, Berkeley, and Yale University.
Since moving full-time into academia, Emmons has continued a small practice of competition entries, residences, and creative works including a collaboration with his sister, artist Carol Emmons. This work has resulted in exhibitions at galleries such as the Philadelphia Art Alliance and has been reviewed and published.[by whom?] The pair installed a permanent piece, competitively selected titled Dwelling in the Plan at the University of Wisconsin–Milwaukee's School of Architecture and Urban Planning Building. Emmons has also organized and curated several exhibitions at WAAC, both group shows and individual exhibitions of drawings by architects such as Douglas Darden.
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Papers by Paul Emmons
Body and Architecture, George Dodds and Robert Tavernor, eds. (MIT Press, 2002, 2005) 290-303.
https://drawingmatter.org/follow-the-footprints/
Paul Emmons and Mehraneh Davari, "First Build then Draw (and repeat)! Circularity and Measured Drawings," Charrette. Special issue: Beginning Architecture: Contextualising thresholds in architectural education. Guest Editors: Raymond Quek, Angeliki Sioli, and Jodi La Coe. 9.1. (2023), 11-32. Digitally published July 18, 2023.
https://www.ingentaconnect.com/content/arched/char/2023/00000009/00000001
Rather than opposing the poetic and the instrumental, this reverie on the architect's tools suggests that they are intertwined by considering the origins of the instrumental cause. Animate instruments can be moved by another and still move themselves. This could be Leon Battista Alberti's meaning when he describes carpenters as instruments of the architect.
The Double Portrait of an Architect (1556) attributed to Tommaso Manzuoli (Museo di Capodimonte, Naples) shows an older man guiding the hand of a younger man who is walking a pair of compasses on a basilica plan. Whatever the painting's intended meaning, it suggests that there are greater concerns than merely the designer's will. In the seventeenth century, when nature was first conceived as a mechanism, the instrumental cause was reinterpreted to explain causation without active powers. The continuing fascination with architectural instruments is demonstrated by their presence in numerous collections and exhibitions.
Body and Architecture, George Dodds and Robert Tavernor, eds. (MIT Press, 2002, 2005) 290-303.
https://drawingmatter.org/follow-the-footprints/
Paul Emmons and Mehraneh Davari, "First Build then Draw (and repeat)! Circularity and Measured Drawings," Charrette. Special issue: Beginning Architecture: Contextualising thresholds in architectural education. Guest Editors: Raymond Quek, Angeliki Sioli, and Jodi La Coe. 9.1. (2023), 11-32. Digitally published July 18, 2023.
https://www.ingentaconnect.com/content/arched/char/2023/00000009/00000001
Rather than opposing the poetic and the instrumental, this reverie on the architect's tools suggests that they are intertwined by considering the origins of the instrumental cause. Animate instruments can be moved by another and still move themselves. This could be Leon Battista Alberti's meaning when he describes carpenters as instruments of the architect.
The Double Portrait of an Architect (1556) attributed to Tommaso Manzuoli (Museo di Capodimonte, Naples) shows an older man guiding the hand of a younger man who is walking a pair of compasses on a basilica plan. Whatever the painting's intended meaning, it suggests that there are greater concerns than merely the designer's will. In the seventeenth century, when nature was first conceived as a mechanism, the instrumental cause was reinterpreted to explain causation without active powers. The continuing fascination with architectural instruments is demonstrated by their presence in numerous collections and exhibitions.
url=https://www.proquest.com/dissertations-theses/image-function-architectural-diagrams-handbooks/docview/305307046/se-2