History of Architecture

Cette communication a eu lieu le 31 mars 2017, dans le cadre du séminaire doctoral d'Alexandre Gady. Elle fut l'occasion de révéler une documentation inédite permettant de porter un nouveau regard sur le projet de place Louis XVI destiné à la cité du Ponant en 1786.

This is a review of facsimile editions of two architects' sketchbooks, Eduardo Souto de Moura and Wang Shu. One factor in the staying power
of the sketch is its immediacy, another is its physicality. In a world in which we increasingly interact through various technological interfaces, in which architecture is mostly created virtually – before it has to interact with the messy reality of the site – the sketch can be seen as an intimate and individual protest against the prevailing norm. The two sketchbooks, Eduardo Souto de Moura – Sketchbook No. 76, and Wang Shu– Imagining the House, are examples of an architectural process in which hand-drafting still has a place.

L'inventario dei libri ritrovati alla morte di Bernardo Antonio Vittone nella sua abitazione torinese è stato pubblicato più di quaranta anni fa da Paolo Portoghesi: non si tratta dunque di un documento inedito. Tuttavia non era ancora stata tentata l'identificazione dei titoli citati, operazione che, pur nella consapevolezza di non potere aspirare a un'esaustiva sistematicità, appare invece fondamentale per far parlare il documento e mettere a fuoco in maniera più puntuale la cultura personale dell'architetto.

The study aims to analyse the two static models most widely adopted by Bernardo Antonio Vittone, through the comparison of two churches in Turin: Santa Chiara and San Leonardo. They are double envelope buildings, with central dome, respectively 10 and 15 meters in diameter, supported by eight pillars and surrounded by a continuous ambulatory. The static model of Santa Chiara provides the internal pillars that play the main structural role and cooperative outer envelope: the dome transmits his loads directly to the interior pillars. The walls and vaults of the lateral chapels have an important role, arranging themselves around the main dome, like a ring of containment of the horizontal thrusts induced by the dome itself. Also the choirs, that Vittone places in smaller spaces behind the pillars, play an important static role: their horizontal structures connect the pillars with the rear wall, which thus offers its collaboration to contain the horizontal thrusts. The church of San Leon...

Models Ruins Power is a three-part journal about the primary generators of architecture. The publication, edited by Sasha Cisar and Nicholas Lobo Brennan, is a collection of essays in the form of writing, drawing and photography. In this issue on We Live In Models: OLIVER WAINWRIGHT on the power of models MARIO BISQUOLM AND FABIAN LAUENER on modern life WERNER OECHSLIN on the model architect NINA POWER on the destruction of architecture WALTER MAIR on theatre and opera DOUGLAS MURPHY on housing RAPHAEL ZUBER six buildings EMMANUEL PETIT on irony GRUPPE on baugespann JACK SELF on the production of desire PETER CARL on the possibilities of models MILICA TOPALOVIC AND BAS PRINCEN on the real and modelled LUIS CALLEJAS AND LUKAS PAUER on weather MOSTAFA SHARQAWI on reimagining Cairo DAVID KOHN on cannibal, phantom and chimeric buildings ASTRID SMITHAM AND NICHOLAS LOBO BRENNAN on Joseph Gandy Models Ruins Power is a three-part journal about the primary generators of architecture. The pu...

Članak govori o Bijelom gradu, četvrti Tel Aviva s brojnim reprezentativnim primjerima građevina podignutih u stilu internacionalne moderne arhitekture u razdoblju između dva svjetska rata, a u povodu izložbe održane u Architekturzentrumu u Beču u prvoj polovini 2008.

This essay examines the narratives used to represent public space and to address or suppress the conflicts that take place within it. These narratives are examined in the Plaza of Three Cultures in Mexico City, designed by Mario Pani and the site of student protest and subsequent tragedy in 1968. This case study is related to a more recent project: the Metropol Parasol in Seville by JürgenMayer H., a large structure including a market, a museum, and an expanse of public space that was the site of Acampada Sevilla in 2011. In both instances, older buildings were incorporated into new designs meant to represent the state: a modern vision for the Mexican Miracle, formal exuberance for a renewed Seville. The construction of these idealized public spaces by the state was followed by their subsequent occupation by marginalized constituencies, protesting the very same state that built the structures. My analysis describes two registers of publicness: as a realm of discourse and as the presence in a physical site. Each of the following case studies incorporates both registers in different ways. Using these case studies, I examine the tensions between public space as constituted by the state and its appropriation by a contesting public. A space is only public, I argue, when it can be contested, questioned, and claimed by active citizens.

Abandoned on the coast as skeletons, bunkers are the last theatrical gesture in the history of Western military architecture (Virilio, 1975). Technically obsolete, this military territory has fallen into extinction and is now generally forgotten. We present the Plan Barron of Defense of Lisbon and Setubal case study, a mid-twentieth-century set of bunkers, recently declassified, as a case study to discuss the future of this heritage facing the climate crisis. Can oblivious historical war heritage be an opportunity to fight climate emergencies? We present four theoretical concepts to fundament this environmental positioning: (i) Heritage Management and Climate Governance, (ii) Techno-aesthetic (Simondon, 1992): panopticon territorial cluster; (iii) Military: camouflage as design, and (iv) Civil: inheritance as future potential. The results allow us to look at military architecture in the form of a bunker, as a set of territorial, architectonic, cultural, and social interests. We demo...

The two Turkish baths in Elbasan have been object of a remarkable survey as part of a vast international research. The original system of the two public baths dates back to the mid-sixteenth century. In the Albanian typology of the hammam, the various environments of increasing temperatures are located along a longitudinal axis ending in the cistern area where the

Since the advent of modern methods and new constructional approaches in architecture and landscape architecture, traditional architecture techniques which were based on utilizing natural energies have been completely set aside. In this case, the art of Iranian gardening has a great deal of valuable achievements and experiences which need to be reconsidered. Owing to its special geographic situation, the city of Shiraz includes a number of globally well-known gardens such as Eram, Jahannama, and Delgosha garden. As long as Persian gardens are considered as important parts of open and green spaces and urban landscapes in cities, the main purpose of this paper is the study of their structural features along with the role they play in improving environmental quality and comfort conditions. From this point of view in Landscape architecture, a quantitative-qualitative study was performed for the first time based on two distinct samples of Persian garden, Jahannama and Delgosha, to evaluat...

The focus of this study in the history of architecture and the built environment is the Stockholm City Hall and its practical functions and symbolic programme. The study also centres on the City Hall’s inauguration festival on the Midsummer’s Eve in 1923 as a manifestation of the building’s functions and symbols at the intersection of ancient times and current times as well as of the Swedish capital Stockholm and the Kingdom of Sweden. In the City Hall, the practical function of the building coincided with some of the theoretical ideals of society at the turn of the century. In this building, which was erected for the Stockholm City Council as well as for its administration and entertainment, socio-political and socio-aesthetic ideas met. In the creative act of the architect Ragnar Östberg, the consensus politics and the aesthetic milieu taken as a whole became an indivisible unity and a programmatic part. As a result, the Stockholm City Hall was shaped into a symbol of the ancient town and its rulers, but also into a manifestation of contemporary society and its new-born democracy.

These aspects of the building are essential in the present Master’s thesis: ‘Stockholm City Hall. Ancient times and current times’. The main aim is to describe the process before and under the construction and, when completed, to analyse the building in relation to the cultural-historical context in answering such questions as: Why was the Stockholm City Hall built? Why did the Stockholm City Hall get specifically this form? In the chapter ‘Society’, 50 years of committees, political regulations and resolutions are introduced – all in relation to the Stockholm Law Courts and the Stockholm City Hall. In the chapter entitled ‘The architect’, Ragnar Östberg (1866–1945) is introduced. The chapter deals with his progress as a student, with his scholarship travels in Sweden, USA and Europe, and with his period in assisting the architect Isak Gustaf Clason with the designs for the Nordic Museum in Stockholm (opened in 1907). In the chapter ‘The building’, the competition entries for the Stockholm Law Court and, when changing over around 1908, the Stockholm City Hall are presented, as well as the final fabric by Östberg. The ideas in contemporary society and impressions of the architect are discussed as sources of inspiration, which are reflected in the building: the Stockholm City Hall.

During the last years, this Master’s thesis in the History of Architecture and the Built Environment has, for instance, been quoted in an extensive monograph in Art History about the Stockholm City Hall (published in 2011). Most recently, it has been referred to in a PhD thesis in Architecture at the University of Bologna, Italy, about the architect Ragnar Östberg (published in 2015).

Dutch Architects in the South African Republic

Jaap Evert Abrahamse

South Africa is one of the eight countries taking part in the Mutual Cultural Heritage programme, which was set up by the Dutch Ministries of Foreign Affairs and Education, Culture and Science. The Cultural Heritage Agency of the Netherlands is a participator in the research project ZA/Wilhelmiens, in which the contribution of Dutch architects to the architecture and building practice in the South African Republic in the Transvaal region is the central theme.
In the 19th century, the South African Republic was seen as a legal and moral successor of the Dutch Republic, that had long before lost its military and economic power and its leading role in international politics, as the English took over most international trade routes and London replaced Amsterdam as the main commercial centre. Many civil servants and other professionals left for the Transvaal to help build the new South African Republic, especially as tax revenues boomed when gold was found near Johannesburg. Among them were quite a number of architects and engineers. Sytze Wierda was appointed the head of the Public Works Department with Klaas van Rijsse as his assistant. Both were architects of Dutch origin. In the period until 1899, the beginning of the Second Anglo-Boer War, the department would design and construct many public buildings, such as the Government Building and the Palace of Justice in Pretoria, but also post offices, prisons, local government buildings, and many others. At the same time, the NZASM railway company built railway lines, station buildings and company towns, many churches were built in which a Dutch influence is clearly visible, and military works were realized outside Pretoria, that seem to be closely connected with the Stelling van Amsterdam, which was also built in this period.

The research focuses on the importance of the interrelationship between identity and heritage as a bonding factor that brings together all those who contributed to the formation of this heritage, regardless of the other ethnic, religious and linguistic affiliations within one identity, the Syrian national identity.

العنوان: الهوية والتراث الثقافي المادي في سورية

يركز البحث على أهمية الترابط بين الهوية والتراث باعتباره يشكل عامل ترابط يجمع كل من أسهم في تكوين هذا التراث بغض النظر عن الانتماءات الآثنية والدينية واللغوية الآخرى ضمن هوية واحدة هي الهوية الوطنية السورية.

Il codice Varia consilia pro bono urbis Romae della Biblioteca Nazionale Centrale di Roma, di cui si propone per la prima volta un’edizione integrale, è una straordinaria fonte inedita per la storia di Roma in età barocca. Databile allo scadere del pontificato di Innocenzo X Pamphilj (1644-1655), il manoscritto presenta un piano di riforma urbana volto ad abbellire la città di Roma, un piano finanziario per rimediare all’indebitamento dello Stato Pontificio, e un regesto degli eventi più significativi tra il 1648 e il 1655. Di eccezionale interesse sono le molte proposte che anticipano i principali piani attuati dalla politica urbana di Alessandro VII (1655-1667) e dai papi di fine Seicento. Sorprendente la collocazione ideologico-religiosa dell’estensore del manoscritto – il cui volto rimane ancora ignoto – apertamente schierato a favore del giansenismo e di istanze politico-sociali che matureranno solo molti decenni più tardi nell’entourage di Clemente XII Corsini (1730-1740).

(From the cover) Se è vero che da puro nutrimento il cibo si è presto trasformato in complessa e raffinata operazione che convoca gusti e intelligenze per assurgere allo status d’imprescindibile «linguaggio», il luogo domestico a esso dedicato, in adesione al codice culturale percepito come egemone, viene a rivestire un ruolo di non comune interesse. Dalla scoperta del fuoco in epoca preistorica fino alle modernissime realizzazioni della tecnologia e della domotica, queste pagine ne seguono l’evoluzione privilegiando lo studio dell’architettura e del design su scala europea e nordamericana e verificandolo nella lunga durata, negli studi sociologici, antropologici e di genere, nei riflessi letterari e cinematografici, nello sviluppo sorprendente del gusto e dei suoi artefici attraverso i secoli. È un perfetto microcosmo, lo spazio che chiamiamo cucina, contesto sempre in bilico tra stabilità e cambiamenti la cui vicenda, qui raccontata con ricchezza di fonti e affabilità narrativa, si intreccia significativamente alla storia delle gerarchie sociali e familiari, ai ruoli definiti e alla loro eloquente messa in discussione.

** Index
Introduzione
Ringraziamenti

La cucina

I.  Ambienti tradizionali
1. La cottura primordiale
2. Tetto e focolare
3. L'oziosa culina
4. Diete conventuali
5. Coquina versus cellerarium
6. La cucina dei forti
7. Zuppa e panbagnato
8. Cortesie per gli ospiti
9. Femine amorevoli e operose
10. La comoda cucina
11. La cucina secreta
12. Il regno degli uomini
13. L'immaginario culinario
14. Richiami etici
15. Casseruole francesi
16. La cucina dei Lumi

II. Trasformazioni borghesi
1. La cuciniera
2. Utopie democratiche
3. Assaporare il gusto
4. La cucina moderna
5. La cuisine de famille
6. Ognuno ha il suo posto
7. Su e giù per le scale
8. Ordine e moralità
9. La cucina vittoriana
10. Il futuro è qui
11. L'Economia domestica
12. La cucina del cottage
13. La workroom
14. Senza cucina
15. Cucine italiane unite
16. La camera chiara

III. Trappole funzionali
1. Verso la cucina progressista
2. Dinamiche spaziali
3. Kitchen Management
4. Mangiare in cucina
5. Il pragmatismo gestionale
6. Razionalità europee
7. La cella operativa
8. Microcosmi standard
9. Armadi sovietici
10. La consumatrice
11. Time-Motion Kitchen
12. Composizioni modulari
13. La cucina del Ventennio
14. Gastronomie antipassatiste
15. Prototipi italiani
16. Cucinare nel pranzo

IV. Stili di vita
1. Ricostruzioni
2. Nazionalismi
3. L'Easier Living
4. Cucine del domani
5. Trasparenti intimità
6. Cucine scandinave
7. Verso la modernizzazione
8. Cucine arredate
9. Cucine componibili
10. Utopie plastiche
11. Cocktail party e cuisine française
12. Guerra fredda in cucina
13. Casalinghe demistificate
14. Il campo di battaglia
15. Rosso in cucina
16. Environments trasgressivi

V. Indizi contemporanei
1. Il grande freddo
2. Loft kitchen
3. Essenzialità tedesca
4. Fra citazione e superdesign
5. La cucina intelligente
6. «Superwoman»
7. Caleidoscopi familiari
8. Fra High-tech, minimalismo e surplus
9. «Kitchen-plaza»
10. Tendenze variabili
11. Uomini in cucina
12. Genitori e figli
13. Cokitchen
14. Cucinare in ufficio

Un mondo che governiamo?

Riferimenti bibliografici
Indice dei nomi

The twentieth release of Sir Banister Fletcher's A History of Architecture is the primary significant work of history to incorporate an outline of the building accomplishments of the twentieth Century. Railing Fletcher has been the standard one volume building history for more than 100 years and keeps on giving a brief and genuine record of world design from the soonest times. In this 20th and century version, altered by Dan Cruickshank with three advisor editors and fourteen new donors, sections have been reevaluated and extended and 33% of the content is new.

* There are new sections on the 20th century engineering of the Middle East (counting Israel), South-east Asia, Hong Kong, Japan and Korea, the Indian subcontinent, Russia and the Soviet Union, Eastern Europe and Latin America. * The part on customary engineering of India has been revised and the segment on conventional Chinese design has been extended, both with new exceptionally appointed drawings * The engineering of the Americas before 1900 has been augmented to incorporate, unexpectedly, point by point inclusion of Latin America and the Caribbean * The book's extension has been enlarged to incorporate more design from outside Europe * The catalog has been ventured into a different segment and is a key wellspring of data on each time of world engineering * The inclusion of the twentieth century design of North America has been isolated into two parts to permit more full inclusion of contemporary works * twentieth century engineering of Western Europe has been drastically reevaluated * For the first run through the engineering of the 20th century is considered overall and evaluated in a recorded viewpoint * Coverage has been stretched out to incorporate structures finished during the most recent ten years * The inclusion of Islamic design has been expanded and re-sorted out to shape an independent segment This remarkable reference book places structures in their social, social and chronicled settings to portray the principle examples of building advancement, from Prehistoric to the International Style. Again in the expressions of Sir Banister Fletcher, this book shows that 'Engineering ... gives a key to the propensities, considerations and goals of the individuals, and without an information on this craftsmanship the historical backdrop of any period does not have that human enthusiasm with which it ought to be contributed.'

From: Las artes en Quito en el cambio del siglo XVII al XVIII (Quito: FONSAL, 2009), pp. 11-25.
Traces the history of architect José Jaime Ortiz through archival sources from his birth in Alicante, Spain, through his work in San Juan, Puerto Rico, to the culmination of his career in Quito.

Neo-Gothic emerged in Croatian architecture rather late in comparison to Great Britain and the majority of countries in mainland Europe. Crucial in spreading the use of the style were the influences from the areas of present-day Germany, Austria, the Czech lands and Hungary.
The history of Croatian Neo-Gothic can be divided into three phases. The first, Romantic, phase lasted from the beginning of the 1800s to the end of the 1860s and was marked by naïve approach to the Gothic style. The second phase of the so-called High Neo-Gothic, in the 1870s and 1880s, showed a considerably greater tendency for achieving stylistic purity and drawing on High Gothic buildings.
Since the early 1890s Neo-Gothic entered its third phase characterized by frequent imitations of Late Gothic, propensity for extravagance and occasional combination with other styles, mostly the Viennese Secession.
Neo-Gothic was significant primarily for the Catholic Church which used it to distinguish its buildings from Orthodox Neo-Byzantine churches or synagogues built mostly in the Neo-Moorish style. Since Catholicism was an important part of Croatian national identity there were endeavours, though unsuccessful ones, to make (Neo-)Gothic the basis for a particular national architectural style.
Croatian architecture of the second half of the 19th century can enrich the historical context of Neo-Gothic on the European mainland with several accomplishments.
Especially interesting are Herman Bollé’s restoration of the Greek
Catholic Cathedral in Križevci in the mixed Neo-Gothic and Neo-Byzantine style and the restoration of the Zagreb Cathedral which was a radical attempt in establishing its assumed original Gothic state by removing almost all Baroque architectural elements and furniture.
Most important architects of Gothic Revival in Croatia were Viennese architect Friedrich von Schmidt and his students, Croatian architects Herman Bollé and Josip Vancaš.

In this paper I present a tradition preserved within the Holy Sepulchre church since the early Middle Ages, which involves the veneration of an icon of the Virgin Mary considered miraculous. According to numerous accounts, it was this image that prevented St. Mary of Egypt from crossing the threshold of the church until she had fully repented her sins. I argue that this hagiographical tradition that was embodied among other holy places and relics of the church could help to clarify certain difficulties relating to the architectural history of the Holy Sepulchre complex, and at the same time illustrate how medieval traditions are still alive within the modern day edifice.